A detailed study of the sight-singing method introduced by the 11th-century monk Guido of Arezzo, in its intellectual context.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Stefano Mengozzi is Associate Professor at the School of Music, Theatre and Dance, University of Michigan.
Inhaltsangabe
Introduction: Guido's hexachord: old facts and new questions; Part I. Guidonian Solmization in Music Theory and Practice: 1. Guido's musical syllables: conflicting views from modern historiography; 2. Inside the gamut: Guido of Arezzo and Hermannus Contractus on the major sixth; 3. Hands off! Singing without syllables in the Middle Ages; 4. The making of a system: medieval music semiotics in transition; Interlude: All hexachords are 'soft'; Part II. Reforming the Music Curriculum in the Age of Humanism: 5. Back to the monochord: church reform and music theory in the 15th century; 6. Normalizing the humanist: Johannes Gallicus as a 'Follower of Guido'; 7. Gafori's hand: forging a new Guido for a new humanist culture; 8. Hexachordal theory and deductive method in Gioseffo Zarlino's Dimostrationi harmoniche (1571); Epilogue: Discarding the Guidonian image of early music; Bibliography.
Introduction: Guido's hexachord: old facts and new questions; Part I. Guidonian Solmization in Music Theory and Practice: 1. Guido's musical syllables: conflicting views from modern historiography; 2. Inside the gamut: Guido of Arezzo and Hermannus Contractus on the major sixth; 3. Hands off! Singing without syllables in the Middle Ages; 4. The making of a system: medieval music semiotics in transition; Interlude: All hexachords are 'soft'; Part II. Reforming the Music Curriculum in the Age of Humanism: 5. Back to the monochord: church reform and music theory in the 15th century; 6. Normalizing the humanist: Johannes Gallicus as a 'Follower of Guido'; 7. Gafori's hand: forging a new Guido for a new humanist culture; 8. Hexachordal theory and deductive method in Gioseffo Zarlino's Dimostrationi harmoniche (1571); Epilogue: Discarding the Guidonian image of early music; Bibliography.
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