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{{short description|Italian music theorist and pedagogue (c. 991/2–1033)}}
{{Use dmy dates|date=July 2021}}
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[[File:Guido van Arezzo.jpg|thumb|upright=1.2|Guido depicted in a medieval manuscript]]
{{Medieval music sidebar|expanded=figures}}

'''Guido of Arezzo''' ({{langx|it|Guido d'Arezzo}};{{refn|Guido's name is recorded in many variants, including '''Guido Aretinus''', '''Guido Aretino''', '''Guido da Arezzo''', '''Guido Monaco''', '''Guido d'Arezzo''', '''Guido Monaco Pomposiano''', or '''Guy of Arezzo''' also '''Guy d'Arezzo'''|group=n}} {{circa|991–992}} – after 1033) was an Italian [[music theorist]] and [[pedagogue]] of High [[medieval music]]. A [[Benedictine]] [[monk]], he is regarded as the inventor—or by some, developer—of the modern [[Staff (music)|staff notation]] that had a massive influence on the development of [[Western musical notation]] and practice.{{sfn|''Britannica''|2021}}{{sfn|Miller|1973|p=239}} Perhaps the most significant European writer on music between [[Boethius]] and [[Johannes Tinctoris]],{{sfn|Grier|2018|loc="Introduction"}} after the former's ''De institutione musica'', Guido's ''[[Micrologus]]'' was the most widely distributed medieval treatise on music.{{sfn|Haines|2008|p=328}}

Biographical information on Guido is only available from two contemporary documents; though they give limited background, a basic understanding of his life can be unravelled. By around 1013 he began teaching at [[Pomposa Abbey]], but his [[antiphonary]] ''Prologus in antiphonarium'' and novel teaching methods based on [[staff notation]] brought considerable resentment from his colleagues. He thus moved to [[Arezzo]] in 1025 and under the patronage of Bishop [[Tedald (bishop of Arezzo)|Tedald of Arezzo]] he taught singers at the [[Arezzo Cathedral]]. Using staff notation, he was able to teach large amounts of music quickly and he wrote the multifaceted ''Micrologus'', attracting attention from around Italy. Interested in his innovations, [[Pope John XIX]] called him to [[Rome]]. After arriving and beginning to explain his methods to the [[clergy]], sickness sent him away in the summer. The rest of his life is largely unknown, but he settled in a monastery near Arezzo, probably one of the Avellana of the [[Camaldolese]] order.

==Context and sources==
Information on Guido's life is scarce; the [[music historian]] [[Charles Burney]] asserted that the paucity of records was because Guido was a monk.{{sfn|Miller|1973|p=240}} Burney furthered that, in the words of musicologist Samuel D. Miller, "Guido's modesty, selfless abandon from material gain life, and obedience to authority tended to obscure his moves, work, and motivations".{{sfn|Miller|1973|p=239}} The scholarly outline of Guido's life has been subject to much mythologization and misunderstandings.{{sfn|Ruini|2004}} These dubious claims include that he spent much of life in France (recorded as early as [[Johannes Trithemius]]'s 1494 ''De scriptoribus ecclesiasticis''); that he trained in the [[Saint-Maur-des-Fossés]] near Paris;{{sfn|Ruini|2004}} and unsupported rumours that he was imprisoned because of plots from those hostile to his innovations.{{sfn|Miller|1973|p=239}}

The primary surviving documents associated with Guido are two undated letters; a dedicatory letter to Bishop [[Tedald (bishop of Arezzo)|Tedald of Arezzo]] and a letter to his colleague Michael of Pomposa, known as the ''Epistola ad Michaelem''.{{sfn|Palisca|2001a|loc="1. Life"}}{{refn|The ''Epistola ad Michaelem'' is also known as the ''Epistola de ignoto cantu'' or the ''Epistola de cantu ignoto''.<ref name="BL">{{cite web |title=Harley MS 3199 |publisher=[[The British Library]] |url=http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_3199 |access-date=27 August 2021 }}</ref>{{sfn|Palisca|2001a|loc="Writings"}}|name=Epistola|group=n}} These letters provide enough information and context to map the main events and chronology of Guido's life,{{sfn|Palisca|2001a|loc="1. Life"}} though Miller notes that they do "not permit a detailed, authoritative sketch".{{sfn|Miller|1973|p=239}}

==Life and career==
===Early life===
Guido was born sometime between 990 and 999.{{sfn|Palisca|2001a|loc="1. Life"}} This birthdate range was conjectured from a now lost and undated manuscript of the ''[[Micrologus]]'', where he stated that he was age 34 while [[Pope John XIX|John XIX]] was [[pope]] (1024–1033).{{sfn|Palisca|2001a|loc="1. Life"}} Swiss musicologist {{ill|Hans Oesch|de|lt=Hans Oesch's}} dating of the manuscript to 1025–1026 is agreed by scholars [[Claude V. Palisca]], Dolores Pesce and Angelo Mafucci, with Mafucci noting that it is "now unanimously accepted".{{sfn|Palisca|2001a|loc="Introduction"}}{{sfn|Mafucci|2003|loc="Il Parere Di J. Smits Van Waesberghe" ["The Opinion of J. Smits Van Waesberghe"]}}{{refn|Translated as "now unanimously accepted" from the original Italian: "{{lang|it|ormai unanimemente accettata}}".{{sfn|Mafucci|2003|loc="Il Parere Di J. Smits Van Waesberghe" ["The Opinion of J. Smits Van Waesberghe"]}}|group=n}} This would suggest a birthdate of {{circa|991–992}}.{{sfn|Palisca|2001a|loc="Introduction"}}{{refn|Other musicologists have concluded different datings for the ''Micrologus''. {{ill|Jos. Smits van Waesberghe|nl}} had dated the work to 1028–1032, suggesting a birthdate of 994–998,{{sfn|Palisca|2001a|loc="1. Life"}} while Charles Atkinson dated it to {{circa|1026–1028}}, suggesting a birthdate of 992–994.{{sfn|Atkinson|2008|p=220}}|group=n|name=Dates}}

Guido's birthplace is even less certain, and has been the subject of much disagreement between scholars,{{sfn|Mafucci|2003|loc="Introduction", "Il Parere Di J. Smits Van Waesberghe" ["The Opinion of J. Smits Van Waesberghe"]}} with music historian Cesarino Ruini noting that due to Guido's pivotal significance "It is understandable that several locations in Italy claim the honor of having given birth to G[uido]".{{sfn|Ruini|2004}}{{refn|Translated as "It is understandable that several locations in Italy claim the honor of having given birth to G[uido]" from the original Italian: "{{lang|it|È comprensibile che diverse località in Italia rivendichino l'onore di avere dato i natali a G[uido]}}".{{sfn|Ruini|2004}}|group=n}} There are two principal candidates: [[Arezzo]], [[Tuscany]] or the [[Pomposa Abbey]] on the [[Adriatic coast]] near [[Ferrara]].{{sfn|Mafucci|2003|loc="Introduction"}}{{refn|Older commentators have proposed [[historical revisionism|revisionist]] theories that he originated from England or Germany.{{sfn|Ruini|2004}} Mafucci noted that theories other than Arezzo and Pomposa are too baseless to be considered.{{sfn|Mafucci|2003|loc="Note 2"}}|group=n}} Musicologist {{ill|Jos. Smits van Waesberghe|nl}} asserted that he was born in Pomposa due to his strong connection with the Abbey from {{circa|1013–1025}}; according to Van Waesberghe, Guido's [[epitaph]] 'of Arezzo' is because of his stay of about a dozen years there later in life.{{sfn|Mafucci|2003|loc="Il Parere Di J. Smits Van Waesberghe" ["The Opinion of J. Smits Van Waesberghe"]}} Disagreeing with Van Waesberghe's conclusions, Mafucci argued that were Guido born in Pomposa, he would have spent nearly 35 years there and would thus more likely be known as 'of Pomposa'.{{sfn|Mafucci|2003|loc="Il Parere Di J. Smits Van Waesberghe" ["The Opinion of J. Smits Van Waesberghe"]}} Mafucci cites the account of the near-contemporary historian [[Sigebert of Gembloux]] ({{circa|1030}}–1112) who referred to Guido as "Guido Aretinus" (Guido of Arezzo), suggesting that the early use of such a designation means Guido's birthplace was Arezzo.{{sfn|Mafucci|2003|loc="Nascita Aretina Di Guido Monaco" ["Aretina Birth of Guido Monaco"]}} Citing recently unearthed documents in 2003, Mafucci identified Guido with a ''Guido clerico filius Roze'' of the [[Arezzo Cathedral]].{{sfn|Mafucci|2003|loc="Guido Entra Alla Scuola Dei Chierici" ["Guido Enters the School of the Clerks"]}} If Mafucci is correct, Guido would have received early musical education at the Arezzo Cathedral from a [[deacon]] named Sigizo and was ordained as a [[subdeacon]] and active as a [[cantor]].{{sfn|Mafucci|2003|loc="Guido Entra Alla Scuola Dei Chierici" ["Guido Enters the School of the Clerks"], "Guido Lascia Arezzo per Pomposa" ["Guido Leaves Arezzo for Pomposa"]}}{{refn|{{harvtxt|Palisca|2001a}} does not include Mafucci's conclusions; however, it is worth noting that Palisca's ''[[The New Grove Dictionary of Music and Musicians|Grove]]'' article was written before the publication of {{harvtxt|Mafucci|2003}}.|group=n}}

===Pomposa===
{{quote box|bgcolor=#c6dbf7|width=25em|align=right|quote=
"Guido [...] perhaps attracted by the fame of what was considered one of the most famous Benedictine abbeys, full of hope of new spiritual and musical life, he enters the monastery of Pomposa, unaware of the storm that, in a few years, it would hit him. In fact [...] it will be his own brothers and the abbot himself who will force him to leave Pomposa."|source=Angelo Mafucci,{{sfn|Mafucci|2003|loc="Guido Lascia Arezzo per Pomposa" ["Guido Leaves Arezzo for Pomposa"]}} {{Abbr|trans.|translated}} from Italian{{refn|Translated as "Guido [...] perhaps attracted by the fame of what was considered one of the most famous Benedictine abbeys, full of hope of new spiritual and musical life, he enters the monastery of Pomposa, unaware of the storm that, in a few years, it would hit him. In fact [...] it will be his own brothers and the abbot himself who will force him to leave Pomposa." from the original Italian: "{{lang|it|Guido [...] forse attratto dalla fama di quella che era considerata una delle più celebri abbazie benedettine, pieno di speranza di nuova vita spirituale e musicale, entra nel monastero di Pomposa, ignaro tuttavia della bufera che, di lì a qualche anno, si sarebbe abbattuta su di lui. Se infatti [...] da Pomposa saranno i suoi stessi confratelli e lo stesso abate che lo costringeranno alla partenza.}}"{{sfn|Mafucci|2003|loc="Guido Lascia Arezzo per Pomposa" ["Guido Leaves Arezzo for Pomposa"]}}|group=n}}}}
Around 1013 Guido went to the Pomposa Abbey, one of the most famous [[Order of St. Benedict|Benedictine]] [[monasteries]] of the time, to complete his education.{{sfn|Mafucci|2003|loc="Guido Lascia Arezzo per Pomposa" ["Guido Leaves Arezzo for Pomposa"]}} Becoming a noted [[monk]],{{sfn|Miller|1973|p=240}} he started to develop the novel principles of [[staff notation]] (music being written and read from an organized visual system).{{sfn|''Britannica''|2021}}

Likely drawing from the writings of {{ill|Odo de Saint-Maur-des-Fossés|sv|lt=Odo of Saint-Maur-des-Fossés}},{{sfn|''Britannica''|2021}} Guido began to draft his system in the [[antiphonary]] ''Regulae rhythmicae'', which he probably worked on with his colleague Michael of Pomposa.{{sfn|Palisca|2001a|loc="1. Life"}}{{refn|In his letter to Michael, ''Epistola ad Michaelem'', Guido referred to the ''Prologus in antiphonarium'' as "{{lang|la|nostrum antiphonarium}}" ("our antiphoner") suggesting they had drafted it together.{{sfn|Palisca|2001a|loc="2. Writings": "(i) Chronology"}} This remains uncheckable as the work is now lost.{{sfn|Palisca|2001a|loc="2. Writings": "(ii) Prologus in antiphonarium"}}|group=n}} In the prologue to the antiphonary, Guido expressed his frustration with the large amount of time singers spent to memorize music.{{sfn|Palisca|2001a|loc="2. Writings": "(ii) Prologus in antiphonarium"}} The system, he explained, would prevent the need for memorization and thus permit the singers extra time to diversify their studies into other prayers and religious texts.{{sfn|Ruini|2004}} He began to instruct his singers along these lines and obtained a reputation for being able to teach substantial amounts of music quickly.{{sfn|Palisca|2001a|loc="1. Life"}} Though his ideas brought interest from around Italy, they inspired considerable jealousy and resistance from his fellow monks,{{sfn|''Britannica''|2021}}{{sfn|Palisca|2001a|loc="1. Life"}} who felt threatened by his innovations.{{sfn|Ruini|2004}} Among those disapproving was the [[Abbot]] {{ill|Guido di Pomposa|it|lt=Guido of Pomposa}}.{{sfn|Ruini|2004}} In light of these objections, Guido left Pomposa in around 1025 and moved to—or 'returned to', if following the Arezzo birthplace hypothesis—Arezzo.{{sfn|''Britannica''|2021}}

===Arezzo, Rome and later life===
[[File:Guido e Teodaldo.jpg|thumb|upright=0.8|Guido (left) showing Tedald the [[monochord]], depicted in an 11th-century medieval manuscript]]
Arezzo was without a monastery; Bishop Tedald of Arezzo (Bishop from 1023 to 1036) appointed Guido to oversee the training of singers for the Arezzo Cathedral.{{sfn|Palisca|2001a|loc="1. Life"}} It was at this time that Guido began work on the ''Micrologus'', or in full ''Micrologus de disciplina artis musicae''.{{sfn|''Britannica''|2021}} The work was both commissioned by and dedicated to Tedald.{{sfn|Palisca|2001a|loc="1. Life"}} It was primarily a musical manual for singers and discussed a wide variety of topics, including chant, [[polyphonic music]], the [[monochord]], [[melody]], [[syllable]]s, [[mode (music)|mode]]s, [[organum]], [[neume]]s and many of his teaching methods.{{sfn|Palisca|2001a|loc="2. Writings": "(iii) Micrologus"}} Resuming the same teaching approach as before, Guido lessened the standard 10-year training for the ideal cantor to only one or two years.{{sfn|Ruini|2004}} Italy-wide attention returned to Guido, and Pope John XIX called him to [[Rome]], having either seen or heard of both his ''Regulae rhythmicae'' and innovative staff notation teaching techniques.{{sfn|Palisca|2001a|loc="1. Life"}} Theobald may have helped arrange the visit,{{sfn|''Britannica''|2021}} and in around 1028, Guido traveled there with the [[Canon (priest)|Canon]] Dom Peter of Arezzo as well as the Abbot Grimaldus of Arezzo.{{sfn|Ruini|2004}}{{sfn|Palisca|2001a|loc="1. Life"}}{{refn|Dom Peter of Arezzo was the Prefect of the [[Canon (priest)|Canon]]s at the [[Arezzo Cathedral]].{{sfn|Ruini|2004}}{{sfn|Palisca|2001a|loc="1. Life"}} [[Abbot]] Grimaldus of Arezzo's identity is uncertain; {{harvtxt|Ruini|2004}} suggested that he was "an unknown Grünwald of Germanic origin", while {{harvtxt|Palisca|2001a|loc="1. Life"}} suggested he was an Abbot of Badicroce, which was about 15 [[kilometer]]s south of Arezzo.|group=n}} His presentation incited much interest from the [[clergy]] and the details of his visit are included in the ''Epistola ad Michaelem''.{{sfn|Ruini|2004}}

While in Rome, Guido became sick and the hot summer forced him to leave, with the assurance that he would visit again and give further explanation of his theories.{{sfn|Palisca|2001a|loc="1. Life"}} In the ''Epistola ad Michaelem'', Guido mentions that before leaving, he was approached by the Abbot Guido of Pomposa who regretted his part in Guido's leave from Arezzo and thus invited him to return to the Abbey.{{sfn|Ruini|2004}} Guido of Pomposa's rationale was that he should avoid the cities, as most of their churchmen were accused of [[simony]],{{sfn|Palisca|2001a|loc="1. Life"}} though it remains unknown if Guido chose the Pomposa Abbey as his destination.{{sfn|Ruini|2004}} It seems more likely that around 1029,{{sfn|''Britannica''|2021}} Guido settled in a monastery of the Avellana of the [[Camaldolese order]] near Arezzo, as many of the oldest manuscripts with Guidonian notation are Camaldolese.{{sfn|Palisca|2001a|loc="1. Life"}} The last document pertaining to Guido places him in Arezzo on 20 May 1033;{{sfn|Ruini|2004}} his death is only known to have been sometime after that date.{{sfn|Palisca|2001a|loc="1. Life"}}

==Music theory and innovations==
===Works===
{{further|Micrologus}}
{{Quote box|width=300px|bgcolor=#E0E6F8|align=right|quote=
'''Works by Guido of Arezzo'''
* The ''[[Micrologus]]'' ({{circa|1025–1026}}){{refn||group=n|name=Dates}}
* ''Regulae rhythmicae'' (after 1026)
* ''Prologus in antiphonarium'' ({{circa|1030}}){{sfn|Atkinson|2008|p=220}}
* ''Epistola ad Michaelem'' ({{circa|1032}}){{sfn|Atkinson|2008|p=220}}

|salign = left}}

Four works are securely attributed to Guido:{{sfn|Herlinger|2004|p=471}} the ''Micrologus'', the ''Prologus in antiphonarium'', the ''Regulae rhythmicae'' and the ''Epistola ad Michaelem''.{{sfn|Palisca|2001a|loc="1. Life"}}{{refn|name=Epistola|group=n}}

The ''Epistola ad Michaelem'' is the only one not a formal musical treatise; it was written directly after Guido's trip to Rome,{{sfn|Palisca|2001a|loc="2. Writings": "(i) Chronology"}} perhaps in 1028,{{sfn|Palisca|2001a|loc="1. Life"}} but no later than 1033.{{sfn|Palisca|2001a|loc="2. Writings": "(i) Chronology"}} All three musical treatises were written before the ''Epistola ad Michaelem'', as Guido mentions each of them in it.{{sfn|Palisca|2001a|loc="2. Writings": "(i) Chronology"}} More specifically, the ''Micrologus'' can be dated to after 1026, as in the preliminary dedicatory letter to Tebald, Guido congratulates him for his 1026 plans for the new St Donatus church.{{sfn|Palisca|2001a|loc="2. Writings": "(i) Chronology"}} Though the ''Prologus in antiphonarium'' was begun in Pomposa (1013–1025), it seems to have not been completed until 1030.{{sfn|Palisca|2001a|loc="2. Writings": "(i) Chronology"}}

===Solmization===
[[File:Ut Queant Laxis MT.png|thumb|The "Ut Queant Laxis" hymn to Saint John the Baptist]]
Guido developed new techniques for teaching, such as staff notation and the use of the "ut–re–mi–fa–sol–la" (do–re–mi–fa–so–la) [[mnemonic]] ([[solmization]]). The syllables ut-re-mi-fa-sol-la (do-re-mi-fa-sol-la) are taken from the six half-lines of the first stanza of the hymn "[[Ut queant laxis]]", the notes of which are successively raised by one step, and the text of which is attributed to the Italian monk and scholar [[Paul the Deacon|Paulus Deacon]] (although the musical line either shares a common ancestor with the earlier setting of Horace's Ode to Phyllis (Odes 4.11) recorded in Montpellier manuscript H425, or may have been taken from there).<ref name="Stuart Lyons Do-Re-Mi">Stuart Lyons, ''Horace's Odes and the Mystery of Do-Re-Mi with Full Verse Translation of the Odes''. Oxford: Aris & Phillips, 2007. {{ISBN|978-0-85668-790-7}}</ref> [[Giovanni Battista Doni]] is known for having changed the name of note "Ut" (C), renaming it "Do" (in the "Do Re Mi ..." sequence known as [[solfège]]).<ref name="McNaught">
{{cite journal |last=McNaught |first=W. G. |year=1893 |title=The History and Uses of the Sol-fa Syllables | journal= Proceedings of the Musical Association |volume=19 |pages=35–51 |publisher=Novello, Ewer and Co. |location=London |doi=10.1093/jrma/19.1.35 |issn=0958-8442 |url=https://books.google.com/books?id=nNYPAAAAYAAJ&pg=PA35 |access-date=26 February 2010
}}</ref> A seventh note, "Si" (from the initials for "Sancte Iohannes," Latin for Saint [[John the Baptist]]) was added shortly after to complete the diatonic scale.<ref>Norman Davies, ''Europe: A History'' (Oxford and New York: Oxford University Press, 1996), pp. 271–7). {{ISBN|978-0-19-520912-9}}; {{ISBN|978-0-19-820171-7}}.</ref> In anglophone countries, "Si" was changed to "Ti" by [[Sarah Glover]] in the nineteenth century so that every syllable might begin with a different letter (this also freed up Si for later use as Sol-sharp). "Ti" is used in [[tonic sol-fa]] and in the song "[[Do-Re-Mi]]".

===The Guidonian hand===
Guido is somewhat erroneously credited with the invention of the [[Guidonian hand]],{{sfn|Palisca|2001a|loc="Introduction"}}<ref>[http://www.oxfordmusiconline.com/subscriber/article/grove/music/26154 "Solmization"] by Andrew Hughes and Edith Gerson-Kiwi, ''[[Grove Music Online]]'' {{Grove Music subscription}}</ref>{{vague|date=April 2022}} a widely used mnemonic system where note names are mapped to parts of the human hand. Only a rudimentary form of the Guidonian hand is actually described by Guido, and the fully elaborated system of natural, hard, and soft [[hexachord]]s cannot be securely attributed to him.<ref>Claude V. Palisca, "Theory, Theorists, §5: Early Middle Ages", ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (professor of music)|John Tyrrell]] (London: Macmillan Publishers).</ref>

In the 12th century, a development in teaching and learning music in a more efficient manner arose. Guido of Arezzo's alleged development of the Guidonian hand, more than a hundred years after his death, allowed musicians to label a specific joint or fingertip with the [[Gamut (music)|gamut]] (also referred to as the hexachord in the modern era).{{Citation needed|date=July 2016|reason=Bonnie Blackburn certainly does not make this outrageous claim. Who in the modern era confuses a six-note system with a twenty-note one?}} Using specific joints of the hand and fingertips transformed the way one would learn and memorize solmization syllables. Not only did the Guidonian hand become a standard use in preparing music in the 12th century, its popularity grew more widespread well into the 17th and 18th centuries.<ref>Bonnie J. Blackburn, "[http://www.oxfordmusiconline.com/subscriber/article/grove/music/17205 Lusitano, Vicente]", Grove Music Online. Oxford Music Online. Oxford University Press. Web. accessed 13 July 2016.</ref> The knowledge and use of the Guidonian hand would allow a musician to simply transpose, identify intervals, and aid in the use of notation and the creation of new music. Musicians were able to sing and memorize longer sections of music and counterpoint during performances and the amount of time spent diminished dramatically.<ref>[[Don Michael Randel]], "Guido of Arezzo", ''The Harvard Biographical Dictionary of Music'' (Cambridge, MA: Belknap Press of Harvard University Press, 1996): 339–40.</ref>

==Legacy==
{{multiple image
| align  = right
| image1 = Guido Aretino Florence.jpg
| width1 = 150
| image2 = Guido Monaco, statue.JPG
| width2 = 200
| footer = Statue of Guido by [[Lorenzo Nencini]] at the [[Loggiato of the Uffizi]], Florence (left); [[Salvino Salvini]]'s statue of Guido in [[Arezzo]]
}}
Almost immediately after his death commentaries were written on Guido's work, particularly the ''Micrologus''.{{sfn|Palisca|2001a|loc="2. Writings": "(vi) Commentaries"}} One of the most noted is the ''De musica'' of [[Johannes Cotto]] ({{fl|{{circa|1100}}}}), whose influential treatise was largely a commentary that expanded and revised the ''Micrologus''.{{sfn|Palisca|2001b|loc="2. The treatise"}} [[Aribo Scholasticus|Aribo]] ({{fl|{{circa|1068–78}}}}) also dedicated a substantial part of his ''De musica'' as a commentary on chapter 15 of the ''Micrologus''.{{sfn|Hughes|2001}} Other significant commentaries are anonymous, including the ''Liber argumentorum'' and ''Liber specierum'' (both Italian, 1050–1100); the ''Commentarius anonymus in Micrologum'' (Belgian or Bavarian, {{circa|1070–1100}}); and the ''Metrologus'' (English, 13th century).{{sfn|Palisca|2001a|loc="2. Writings": "(vi) Commentaries"}}

Guido of Arezzo and his work are frequent namesakes. The controversial [[mass (music)|mass]] ''Missa Scala Aretina'' (1702) by [[Francisco Valls]] takes its name from Guido's hexachord.<ref>{{cite web |last=Fitch |first=Fabrice |title=VALLS Missa Scala Aretina |work=[[Gramophone (magazine)|Gramophone]] |url=https://www.gramophone.co.uk/review/valls-missa-scala-aretina |access-date=20 August 2021 }}</ref> [[Lorenzo Nencini]] sculpted a statue of Guido in 1847 that is included in the [[Loggiato of the Uffizi]], Florence.<ref>{{cite web |title=Firenze – Statue degli illustri nel loggiato degli Uffizi |website=Statues – Hither & Thither |url=https://statues.vanderkrogt.net/object.php?webpage=CO&record=itto054 |access-date=20 August 2021 }}</ref> A statue to him was erected 1882 in his native Arezzo; it was sculpted by [[Salvino Salvini]].<ref>{{cite web |title=Arezzo – Guido Monaco |website=Statues – Hither & Thither |url=https://statues.vanderkrogt.net/object.php?webpage=CO&record=itto089 |access-date=20 August 2021 }}</ref> Modern namesakes include the [[Scorewriter|computer music notation]] system [[GUIDO music notation]],<ref>{{cite web |title=Guido Music Notation |publisher=Grame-CNCM |url=https://guidodoc.grame.fr/ |access-date=31 July 2021 }}</ref> as well as the "Concorso Polifónico Guido d'Arezzo" (International Guido d'Arezzo Polyphonic Contest) hosted by the Fondazione Guido D'Arezzo in Arezzo.<ref>{{cite web |title=The Foundation |publisher=Fondazione Guido D'Arezzo |url=https://www.polifonico.org/en/la-fondazione |access-date=31 July 2021 }}</ref> A street in [[Milan]], Via Guido D'Arezzo, is named after him.<ref>{{cite web |title=Via Guido D'Arezzo |website=[[Google Maps]] |access-date=19 August 2021 |url=https://www.google.com/maps/place/Via+Guido+D'Arezzo,+20145+Milano+MI,+Italy/@45.4680983,9.162493,18.65z/data=!4m5!3m4!1s0x4786c15d693b1329:0x497b2b4b3309b767!8m2!3d45.4681655!4d9.1633392 }}</ref>

In 1950, the ''Comitato Nazionale per le Onoranze a Guido Monaco'' (National Committee for Honors to Guido Monaco) held various events for the ninth [[centenary]] of Guido's death. Among these was a [[monograph]] competition; Jos Smits van Waesberghe won with the Latin work ''De musico-paedagogico et theoretico Guidone Aretino eiusque vita et moribus'' (''The Musical-Pedagogy of Theoretician Guido of Arezzo Both His Life and Morals'').{{sfn|Mafucci|2003|loc="Il Parere Di J. Smits Van Waesberghe" ["The Opinion of J. Smits Van Waesberghe"]}}

==Editions==
* {{cite book |author=Guido of Arezzo |editor-last=van Waesberghe |editor-first=Jos Smits |editor-link=:nl:Jos. Smits van Waesberghe |year=1955 |title=Micrologus |series=Corpus Scriptorum de Musica |volume=4 |publisher=[[American Institute of Musicology]] |location=Rome |oclc=1229808694 |ref=no }}
* {{cite book |author=Guido of Arezzo |editor-last=van Waesberghe |editor-first=Jos Smits |editor-link=:nl:Jos. Smits van Waesberghe |year=1975 |title=Prologus in antiphonarium |series=Divitiae Musicae Artis |publisher=Frits Knuf |location=Buren |oclc=251805291 |author-mask=2 |ref=no }}
* {{cite book |author=Guido of Arezzo |editor-last=Palisca |editor-first=Claude V. |translator-last=Babb |translator-first=Warren |others=Index of chants by [[Alejandro Enrique Planchart]] |year=1978 |title=Hucbald, Guido, and John on music: Three Medieval Treatises |chapter=Micrologus |publisher=[[Yale University Press]] |location=New Haven and London |isbn=978-0-300-02040-3 |author-mask=2 |ref=no }}
* {{cite book |author=Guido of Arezzo |editor-last1=van Waesberghe |editor-first1=Jos Smits |editor-link1=:nl:Jos. Smits van Waesberghe |editor-last2=Vetter |editor-first2=Eduard |year=1985 |title=Regulae rhythmicae |series=Divitiae Musicae Artis |publisher=Frits Knuf |location=Buren |oclc=906533025 |author-mask=2 |ref=no }}
* {{cite book |author=Guido of Arezzo |translator-last1=Colette |translator-first1=Marie-Noël |translator-last2=Jolivet |translator-first2=Jean-Christophe |year=1993 |title=Micrologus |publisher=Édition IPMC |location=Paris |language=French |isbn=978-2-906460-28-7 |oclc=935613218 |author-mask=2 |ref=no }}
* {{cite book |author=Guido of Arezzo |translator-last=Pesce |translator-first=Dolores |year=1999 |title=Guido d'Arezzo's Regule rithmice, Prologus in antiphonarium, and Epistola ad michahelem: a critical text and translation, with an introduction, annotations, indices, and new manuscript inventories |publisher=Institute of Mediaeval Music |location=Ottawa |isbn=978-1-896926-18-6 |oclc=247329370 |author-mask=2 |ref=no }}

==References==
===Notes===
{{Reflist|group=n|colwidth=30em}}

===Citations===
{{Reflist}}

===Sources===
;Books
{{refbegin}}
* {{cite book |last=Atkinson |first=Charles M. |year=2008 |title=The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music |publisher=[[Oxford University Press]] |location=Oxford |isbn=978-0-19-972238-9 }}
{{refend}}

;Journal and encyclopedia articles
{{refbegin}}
* {{cite encyclopedia |last=Grier |first=James |year=2018 |encyclopedia=[[Oxford Bibliographies Online|Oxford Bibliographies]]: Music |title=Guido of Arezzo |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/OBO/9780199757824-0248 |url=https://www.oxfordbibliographies.com/view/document/obo-9780199757824/obo-9780199757824-0248.xml |url-access=subscription}} {{subscription required}}
* {{cite journal |last=Haines |first=John |year=2008 |title=The Origins of the Musical Staff |journal=[[The Musical Quarterly]] |publisher=[[Oxford University Press]] |volume=91 |issue=3/4 |pages=327–378 |doi=10.1093/musqtl/gdp002 |jstor=20534535 }}
* {{cite encyclopedia |last=Herlinger |first=Jan |editor-last=Kleinhenz |editor-first=Christopher |year=2004 |encyclopedia=Medieval Italy: An Encyclopedia |title=Guido d'Arezzo |publisher=[[Taylor & Francis]] |location=Abingdon-on-Thames |url={{google books|plainurl=y|id=E2CTAgAAQBAJ}} }}
* {{cite encyclopedia |last=Hughes |first=Andrew |year=2001 |encyclopedia=[[Grove Music Online]] |title=Aribo |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.01233 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000001233 }} {{Grove Music subscription}}
* {{cite journal |last=Mafucci |first=Angelo |year=2003 |title=Guido d'Arezzo: I primi venti anni della sua vita |trans-title=Guido d'Arezzo: The First Twenty Years of His Life |journal=Rivista Internationale di Musica Sacra |volume=24 |issue=2 |pages=111–122 |language=Italian }} Reprinted on ''[https://www.musicologie.org/publirem/mafucci_it.html musicologie.org]''. 
* {{cite journal |last=Miller |first=Samuel D. |date=Autumn 1973 |title=Guido d'Arezzo: Medieval Musician and Educator |journal=[[Journal of Research in Music Education]] |volume=21 |issue=3 |pages=239–245 |jstor=3345093 |doi=10.2307/3345093 |s2cid=143833782 }}
* {{cite encyclopedia |last=Palisca |first=Claude V. |others=Revised by Dolores Pesce |year=2001a |encyclopedia=[[Grove Music Online]] |title=Guido of Arezzo |publisher=[[Oxford University Press]] |location=Oxford |access-date=19 September 2020 |doi=10.1093/gmo/9781561592630.article.11968 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000011968 }} {{Grove Music subscription}}
* {{cite encyclopedia |last=Palisca |first=Claude |authorlink=Claude V. Palisca |year=2001b |encyclopedia=[[Grove Music Online]] |title=Johannes Cotto |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.14349 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000014349 }} {{Grove Music subscription}}
* {{cite encyclopedia |last=Ruini |first=Cesarino |year=2004 |encyclopedia=[[Dizionario Biografico degli Italiani]] |title=Guido d'Arezzo |publisher=[[Treccani]] |language=Italian |volume=64 |url=https://www.treccani.it/enciclopedia/guido-d-arezzo_(Dizionario-Biografico)/ }}
* {{cite encyclopedia |date=1 January 2021 |title=Guido d'Arezzo &#124; Italian musician &#124; Britannica |encyclopedia=[[Encyclopædia Britannica]] |publisher=[[Encyclopædia Britannica, Inc.]] |location=Chicago |url=https://www.britannica.com/biography/Guido-dArezzo-Italian-musician |archive-url=https://web.archive.org/web/20201114001318if_/https://www.britannica.com/biography/Guido-dArezzo-Italian-musician |archive-date=14 November 2020 |url-status=live |ref={{sfnRef|''Britannica''|2021}} }}
{{refend}}

==Further reading==
''See {{harvtxt|Grier|2018}} for an extensive bibliography''
;Books
{{refbegin}}
* {{cite book |last=Hoppin |first=Richard |author-link=Richard Hoppin |year=1978 |title=Medieval Music |series=The Norton Introduction to Music History |edition=|publisher=[[W. W. Norton & Company]] |location=New York|isbn=978-0-393-09090-1}}
* Lyons, Stuart (2010). ''Music in the Odes of Horace''. Oxford: Aris & Phillips. {{ISBN|978-0-85668-844-7}}.
* {{cite book |last=Mengozzi |first=Stefano |title=The Renaissance Reform of Medieval Music Theory: Guido of Arezzo Between Myth and History |date=2010 |publisher=[[Cambridge University Press]] |location=Cambridge |isbn=978-0-521-88415-0 |url={{google books|plainurl=y|id=FeGxqOgwqDAC}} }}
* {{cite book |last=Oesch |first=Hans |author-link=:de:Hans Oesch |year=1978 |title=Guido von Arezzo: Biographisches und Theoretisches unter besonderer Berücksichtigung der sogenannten odonischen Traktate |trans-title=Guido von Arezzo: Biographical and theoretical matters with special consideration of the so-called odonic treatises |language=German |series=Publikationen der Schweizerischen Musikforschenden Gesellschaft |publisher=P. Haupt |location=Bern |oclc=527452 }}
* {{cite book |last=Pesce |first=Dolores |editor-last1=Murray |editor-first1=Russell E. |editor-last2=Weiss |editor-first2=Susan Forscher |editor-last3=Cyrus |editor-first3=Cynthia J. |year=2010 |title=Music Education in the Middle Ages and the Renaissance |chapter=Guido d'Arezzo, ''Ut queant laxis'', and Musical Understanding |publisher=[[Indiana University Press]] |location=Bloomington |isbn=978-0-253-00455-0 |url={{google books|plainurl=y|id=81lhP9mblk0C}} |pages=25–36 }}
{{refend}}

;Journal and encyclopedia articles
{{refbegin}}
* {{cite journal |last=Berger |first=Carol |date=1981 |title=The Hand and the Art of Memory |journal=[[Musica Disciplina]] |publisher=[[American Institute of Musicology]] Verlag Corpusmusicae, GmbH |volume=35 |pages=87–120 |jstor=20532236 }}
* {{cite journal |last1=Carey |first1=Norman |last2=Clampitt |first2=David |date=Spring 1996 |title=Regions: A Theory of Tonal Spaces in Early Medieval Treatises |journal=[[Journal of Music Theory]] |publisher=[[Duke University Press]] |volume=40 |issue=1 |pages=113–147 |jstor=843924 }}
* {{cite journal |last=Fuller |first=Sarah |date=January–June 1981 |title=Theoretical Foundations of Early Organum Theory |journal=[[Acta Musicologica]] |publisher=[[International Musicological Society]] |volume=53 |issue=Fasc. 1 |pages=52–84 |jstor=932569 |doi=10.2307/932569 }}
* {{cite journal |last=Green |first=Edward |date=December 2007 |title=What Is Chapter 17 of Guido's 'Micrologus' about? A Proposal for a New Answer |journal=International Review of the Aesthetics and Sociology of Music |volume=38 |issue=2 |pages=143–170 |jstor=25487523 }}
* {{cite journal |last=Huglo |first=Michel |year=1988 |title=Bibliographie des éditions et études relatives à la théorie musicale du Moyen Âge (1972–1987) |trans-title=Bibliography of Editions and Studies Relating to Medieval Music Theory (1972–1987) |journal=[[Acta Musicologica]] |publisher=[[International Musicological Society]] |location=Basel |volume=60 |issue=Fasc. 3 |pages=229–272 [252] |jstor=932753 |doi=10.2307/932753 }}
* {{cite journal |last=Mengozzi |first=Stefano |date=Summer 2006 |title=Virtual Segments: The Hexachordal System in the Late Middle Ages |journal=[[The Journal of Musicology]] |publisher=University of California Press |volume=23 |issue=3 |pages=426–467 |jstor=10.1525/jm.2006.23.3.426 |doi=10.1525/jm.2006.23.3.426 }}
* {{cite journal |last=Reisenweaver |first=Anna J. |date=2012 |title=Guido of Arezzo and His Influence on Music Learning |journal=Musical Offerings |volume=3 |issue=1 |pages=55–63 |doi=10.15385/jmo.2012.3.1.4 |url=https://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/4 |doi-access=free }}
* {{cite journal |last=Russell |first=Tilden A. |date=Spring 1981 |title=A Poetic Key to a Pre-Guidonian Palm and the 'Echemata' |journal=[[Journal of the American Musicological Society]] |publisher=University of California Press |volume=34 |issue=1 |pages=109–118 |jstor=831036 |doi=10.2307/831036 }}
* {{cite journal |last=Sullivan |first=Blair |date=1989 |title=Interpretive Models of Guido of Arezzo's Micrologus |journal=Comitatus: A Journal of Medieval and Renaissance Studies |volume=20 |issue=1 |pages=20–42 |url=https://escholarship.org/content/qt5g13339g/qt5g13339g_noSplash_92ec624cba9064df1477e57b1b56bb38.pdf?t=krnopa }}
* {{cite journal |last=van Waesberghe |first=Jos Smits |author-link=:nl:Jos. Smits van Waesberghe |date=1951 |title=The Musical Notation of Guido of Arezzo |journal=[[Musica Disciplina]] |publisher=[[American Institute of Musicology]] Verlag Corpusmusicae, GmbH |volume=5 |pages=15–53 |jstor=20531824 }}
* {{cite journal |last=van Waesberghe |first=Jos Smits |author-link=:nl:Jos. Smits van Waesberghe |date=1951 |title=Guido of Arezzo and Musical Improvisation |journal=[[Musica Disciplina]] |publisher=[[American Institute of Musicology]] Verlag Corpusmusicae, GmbH |volume=5 |pages=55–63 |jstor=20531825 }}
{{refend}}

==External links==
{{Commons category}}
* {{IMSLP|id=D'Arezzo, Guido}}
* {{DIAMM|pid=57|pname=Guido of Arezzo}}
* [http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_3199 Manuscripts of works by Guido] at [[The British Library]]
* [https://chmtl.indiana.edu/tml/9th-11th/GUIMICB_MBBR2784.html Transcription of the ''Micrologus''] in Latin on the ''Thesaurus Musicarum Latinarum'' of the [[Indiana University Jacobs School of Music]]
* [https://tiaki.natlib.govt.nz/#details=ecatalogue.78831 Digitized 12th-century manuscript of four works by Guido of Arezzo] (bound with a copy of Boethius' ''De Musica'') at [[National Library of New Zealand|Alexander Turnbull Library]]

{{Medieval music|state=collapsed}}
{{Portal bar|Biography|Classical music|Music|Middle Ages}}

{{Authority control}}
[[Category:990s births]]
[[Category:1050 deaths]]
[[Category:11th-century Christian monks]]
[[Category:11th-century Italian writers]]
[[Category:People from Arezzo]]
[[Category:Italian Benedictines]]
[[Category:Musical notation]]
[[Category:Italian music theorists]]
[[Category:Tonaries]]
[[Category:Medieval music theorists]]
[[Category:11th-century inventors]]