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Cambridge University Press 978-0-521-88415-0 - The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History Stefano Mengozzi Index More information Index Adam of Fulda, 71, 149 Ars musyce armonie, 54 Aegidius de Zamora, 53 Assolari, Alessandro, 186 affinitas, 24, 25, 30, 33, 110, See also affinity, Atlas, Allan, 21 theory of Augustine of Hippo (Aurelius Augustinus), affinity, theory of, 20, 30, 60, 103 119, 120, 126, 161 in Guido of Arezzo, 25, 30–36, 41 Aurelianus Reomensis (Aurelian of Réôme) in the Musica enchiriadis, 35–36 Musica disciplina, 126, 127 A-G letters, 4, 19–21, 20, 25, 26, 28–29, 31, 35, 46, 52–54, 56–59, 62, 76–81, 80, 82–83, Babb, Warren, 32, 34, 44, 46, 55 86–89, 90–91, 93–96, 98–106, 110, 111, Bacchius senior, 194 112–13, 119, 129, 136–38, 142, 144, 146, Bach, Johann Sebastian, 19 151–52, 155–58, 161, 163, 164, 166, Baltzer, Rebecca, 83, 84 167–73, 176–78, 181, 183, 189–93, 194, Barbo, Ludovico, 123, 128 204, 205, 207, 209–10, 214, 234–35, 251, Barocchi, Francesco, 249 See also clavis, littera, keys Barzizza, Gasparino, 121–122 Alençon, Philippe d’, 117 Becker, Adolf, 55 Alighieri, Dante, 160 Bede the Venerable, 126 Allaire, Gaston, 21–23, 24, 29, 59 Beethoven, Ludwig van, 112 Amalarius of Metz, 126, 127–28, 133 Bent, Margaret, 5, 20–21, 122, 123 ambages, 159–61 Berger, Christian, 22, 24, 36 Ambros, August Wilhelm, 25 Berger, Karol, 4, 5, 20, 62, 97, 98, 130 Ambrose, bishop of Milan, 120, 149, 219 Berkeley Anonymous, 96, 209, Amerus/Aluredus, 83 See also Goscalcus Practica artis musicae, 53, 74, 83, 88, 90–93, Bernard of Clairvaux, 52, 80, 126 98, 108, 181 Bernardus. See Berno of Reichenau André, Marc, 122–23 Bernhard, Michael, 7, 44, 54 Angeloni, Luigi, 255 Berno of Reichenau, 54, 126 Anglicus, Bartholomaeus, 71 Blackburn, Bonnie, 5, 12, 21, 34, 53, 79, 82, 83, Anonymous of St. Emmeram, 84 143, 165, 208 Anonymous XI Blockland de Montfort, Corneille, 95 Tractatus de musica plana Boen, Johannes, 71 et mensurabili, 95 Boethius, Anicius Manlius Severinus, 71, 88, antiqua musica, 123 126, 148, 174, 183, 210, 213, antiqui auctores, 121–28 215, 224, 248 Apuleius De institutione musica, 50, 71, 119, 143–44, Metamorphoses, 224 146, 245, 249 Aristotle, 87, 192 Bower, Calvin, 35, 50, 162 Posterior Analytics, 248 Brandi, Antonio, 255 Problems, 125 Brothers, Thomas, 4, 24 theory of memory, 88 Brown, Howard Meyer, 238 Aron, Pietro, 208, 227 Bruni, Leonardo, 225 Ars et modus pulsandi organa, 54 Burney, Charles, 112, 254 Ars musyce, 54 Bursfeld Congregation, 13 279 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88415-0 - The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History Stefano Mengozzi Index More information 280 Index Burtius, Nicolaus, 14, 142, 143, 147, 163, deductio, 2–4, 26, 82, 87, 95, 96, 97, 104, 164–171, 173, 174, 175, 179, 181, 182, 138, 159, 186, 203, See also hexachord, 185, 186, 194, 206, 208, 216, 247, 253 proprietas Musices opusculum (Florum libellus), 141, as a six-syllable unit, 110, 181, 185 164, 166, 167, 170, 173, 175, 176, 179, 216 as cantus, 138 on mutation, 164–66 in Gafori’s Practica musicae, 186–92, 193, Busse Berger, Anna Maria, 5 210, 212 Degrada, Francesco, 222 Camerata de’ Bardi, 146 della Viola, Francesco, 231, 233 Cantus quem Cisterciensis, 52 Denis the Carthusian, 128 Cardinal Ottoboni Fieschi, 83 Desprez, Josquin, 11, 12, 19, 23 Cattin, Giulio, 123 devotio moderna, 128 Caza, Francesco, 222 diapason, 9, 51, 99, 101, 103, 137, 139, 145, Cerone, Pietro, 95 151, 183, 213–14, 228, 232, 236–37, 244, Cesari, Gaetano, 177 See also octave Chafe, Eric, 9, 10–11, 24 diapente, 36, 37, 39, 46, 51, 101, 110, 139, 181, Chailley, Jacques, 1 201, 213, 215, 241 chorda (chordae), 182, 192, 208, 214, 232, 236, diatessaron, 39, 101, 139, 171, 172, 240 201, 213, 215, 228, 240, 241, 245, Cicero, 62, 119, 205 See also tetrachord Ciconia, Johannes, 13–14, 112–13, 117–18, diatonic species, 25, 37, 41, 46, 50, 60, 100, 119–20, 122, 123, 124, 126, 127, 128, 132, 111, 112, 122–24, 125, 126, 129, 139, 145, 135, 138, 143, 148, 152, 163, 216, 227, 253 146, 167–73, 176, 206, 212–13, 215, 228, Nova musica, 117, 118, 120, 121–30, 122, 230, 232, 235, 237, 239, 240, 244, 245 123, 124, 126, 127, 129, 131, 133, 143 diatonic system (gamut, musica recta, musica pedagogical program of, 121–30 vera, Tonsystem), 27, 28, 29, 34, 36, 37, clavis (claves), 7, 20, 26–29, 90–93, 99, 103, 41, 42, 45, 58, 71, 108, 111, 113, 146, 157, 104, 107–108, 136, 137–38, 157, 210, 159, 205, 210, 211, 245, 256 See also litterae; A-G letters; keys Diruta, Girolamo, 238 clef, 7, 157 Duffin, Ross, 111–112 Clercx, Suzanne, 123 Dyer, Joseph, 44, 84, 87, 133, 135 Cochlaeus, Johannes, 227 Cohen, David, 21, 30, 34, 36, 37, 50 ecclesia primitiva, 120, 161 Collins Judd, Cristle, 194, 232, 248 Eger von Kalkar, Heinrich computus, 129 Cantuagium, 162, 163 Conagus, Lucinus, 220 Ellinwood, Leonard, 39, 263 Congregation of St. Giustina, 80, 123 Ellsworth, Oliver, 96, 97, 122, 124, 143, 209 coniuncta, 95–98 Engelbert of Admont, 83, 99, 101 Conrad of Zabern, 13, 129, 133, 135–36, 137, Erasmus of Rotterdam, 119, 135 138, 139, 140, 146 Erfurt cento, 55 De modo bene cantandi, 132–35 Euclid Novellus musicae artis tractatus, 132, 136–40 Elementa, 249 Opusculum de monochordo, 132, 139–40 Evrart de Conty, 125 contemptus mundi, 162 Council of Constance, 119 Falchi, Michele, 255 Coussemaker, Edmond de, 98, 142 Fasola system, 157 Crocker, Richard, 19–20, 21, 29, 36, 37, 39, Fast, Susan, 122 41–43, 233–35 Fend, Michael, 249 Curtius, Lancinus, 220 Ficino, Marsilio, 223 Filelfo, Francesco, 204 Dahlhaus, Carl, 8, 23–24, 29 Franco of Cologne, 149, 163 Decembrio, Pier Candido, 225 Ars cantus mensurabilis, 149 Dederoth, Johannes, 132 Frescobaldi, Girolamo, 11 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88415-0 - The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History Stefano Mengozzi Index More information Index 281 Fulgentius of Affligem,44 149, 150, 151, 152, 157–59, 173, 175, 177, Fulgentius, Fabius Planciades, 124 178–79, 189, 203, 208, 224, 228, 229, 230, Mythologiarum, 124 231, 247, 253–54, 255 Fuller, Sarah, 24, 54, 148 Epistola ad Michahelem, 1, 27, 30, 31, 137, Fux, Johann Joseph, 112 152, 153, 179, 181 in Gafori’s Practica musicae, 204–11 Gabrieli, Andrea and Giovanni, 238 in Ramos’ Musica practica, 182–86 Gafori, Franchino, 14–15, 146, 148, 180, 182, Micrologus, 30, 34, 59, 60, 129, 131, 135, 202, 203, 207, 216, 217, 220, 222, 227, 136, 137, 149, 153, 155, 248 228, 230, 245, 252, 253–55 Prologus in antiphonarium, 1, 30, 179 De harmonia musicorum instrumentorum Regule rithmice, 1, 30, 31, 151, 155, 184 opus, 124, 220 Guido senior (Guido of Arezzo), 52 Extractus parvus musicae, 208 Guidonian Hand, 4, 19, 20, 21, 45, 46, 52, 53, modal theory in Practica musicae, 212–17 61–81, 88, 90, 91, 106, 130, 131, 135, Practica musicae, 14, 93, 124, 171, 173, 176, 136, 138, 139, 140, 143, 151, 155, 180, 182, 186–92, 193, 194, 202, 204, 205, 157, 159, 256, 274, See also manus, 206, 207, 208, 215, 216, 217, 219, 220, palma 221, 222, 223, 225, 227, 230, 245, 247, 254 guidonistae, 121, 124, 129, 130, 135, 143, 152 recasting solmization theory, 212 Gümpel, Karl-Werner, 132, 135, 136, 137, 138, The Theory of Music, 179 139, 140 Theorica musicae, 151, 176–80, 177, 179, 204, 209, 210, 211, 212, 220, 222 Haar, James, 180, 207, 222 Theoricum opus, 177, 178, 204, 222, 223 Haggh, Barbara, 117, 123, 127 Gallico, Claudio, 120, 143 Hallmark, Anne, 117 gamut, 1, 2, 4, 5, 8, 19, 20, 21, 22, 24, 25, 27, 30, Handschin, Jacques, 24, 25, 28, 30, 54 32, 33, 34, 35, 41, 45, 46, 50, 51, 54, 55, Hawkins, John, 112, 254–255 59, 61, 71, 76, 77, 82, 86, 88, 90, 95, 96, 97, Haydn, Franz Joseph, 112 98, 101, 103, 104, 105, 110, 111, 140, 145, Henderson, Robert, 87 151, 155, 156, 157, 159, 171, 173, 174, Herbenus Traiectensis, 149, 161 183, 185, 191, 192, 204, 206, 207, 208, Herlinger, Jan, 21, 74, 95, 98, 128 210, 211, 212, 228, 230, 237, 245, 247, Hermannus Contractus, 13, 19, 34, 36–43, 248, 250, 251, 252 110, 247 Garin, Eugenio, 225 hexachord (hexachordum, proprietas, Geert de Groote, 162 deductio) Gerbert, Martin, 44, 59 as a diatonic yardstick, 5, 10, 11–15, 19, Gerson, Jean, 120, 121 21–29, 36, 37–39, 42, 59, 86, 97, 111, 113, Gianfrancesco Gonzaga, 176 173, 205, 230, 249, 250, 251, 252, 254, Giovanni del Lago, 208, 210 255–56 Glareanus, Henricus, 146, 148, 215, 216, as a music-analytic tool, 8, 10, 22, 24, 36, 230–31, 235, 238, 239, 247 59, 256 Dodecachordon, 146, 235, 239 as an expansion of tetrachordum, 14, 32–36, Goscalcus, 71, 95 38, 204, 251, 254 Gregory the Great, 113, 120, 126, 148, 149, as marker of a music-historical 150, 163, 194, 209–10 era, 1, 8, 253 Guarino da Verona, 119 as synonym for proprietas, 204–07 Guido Augensis (Guido of Eu), 51–53 in Guido’s theory of affinity, 32–36 Regule de arte musica, 52, 80 in modal theory, 20, 22, 37–39, 40–41, Guido junior (Guido Augensis), 52 230–48 Guido of Arezzo, 1, 5–8, 13–15, 19, 20, 25, in relation to deductio, 26 26, 30–37, 41–43, 44, 45, 46, 52–53, 55, to designate the interval of a sixth, 4, 97, 58–62, 73, 74, 81, 82–83, 86, 91, 93, 94, 110, 128, 227–30 99–100, 101, 103–05, 106, 108, 109, 110, to designate the ut-la syllables, 82, 110, 111, 123, 126, 129, 137, 143–44, 146–55, 148, 252 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88415-0 - The Renaissance Reform of Medieval
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    Behind the Mirror Revealing the Contexts of Jacobus’s Speculum musicae by Karen Desmond A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music New York University May, 2009 ___________________________ Edward H. Roesner © Karen Desmond All Rights Reserved, 2009 DEDICATION For my family iv ACKNOWLEDGMENTS I would like to thank my advisor, Edward Roesner, for his unfaltering support throughout this process, for his thoughtful suggestions regarding lines of inquiry, and his encyclopedic knowledge of the field. I would like to thank Stanley Boorman and Gabriela Iltnichi for their friendship and expertise, and their critical eye in their careful reading of many drafts of my work. For their assistance during my research trip to Belgium, I must mention Monsieur Abbé Deblon and Christian Dury at the Archives de l’Evêché, Liège, Paul Bertrand at the Archives de l’Etat, Liège, Philippe Vendrix for his kind hospitality, and to Barbara Haggh-Huglo for her tips and advice in advance of my trip, and for also reading a final draft of this dissertation. I would also like to thank Margaret Bent and Ruth Steiner for help during the early stages of my doctoral research, and Suzanne Cusick for her reading of the final draft. Finally, heartfelt thanks are due to my husband, Insup; my two sons, Ethan and Owen; and my parents, John and Chris, who have been steadfast in their encouragement of this endeavor. v ABSTRACT This study addresses the general question of how medieval music theory participated in the discourse of the related disciplines of philosophy, natural science and theology.
  • Guido of Arezzo and His Influence on Music Learning

    Guido of Arezzo and His Influence on Music Learning

    Musical Offerings Volume 3 Number 1 Spring 2012 Article 4 2012 Guido of Arezzo and His Influence on Music Learning Anna J. Reisenweaver Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Musicology Commons, Music Pedagogy Commons, and the Music Practice Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Reisenweaver, Anna J. (2012) "Guido of Arezzo and His Influence on Music Learning," Musical Offerings: Vol. 3 : No. 1 , Article 4. DOI: 10.15385/jmo.2012.3.1.4 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/4 Guido of Arezzo and His Influence on Music Learning Document Type Article Abstract Throughout the history of Western music, Guido of Arezzo stands out as one of the most influential theorists and pedagogues of the Middle Ages. His developments of the hexachord system, solmization syllables, and music notation revolutionized the teaching and learning of music during his time and laid the foundation for our modern system of music. While previous theorists were interested in the philosophical and mathematical nature of music, Guido’s desire to aid singers in the learning process was practical.