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Guido of Arezzo (Italian: Guido d'Arezzo; [n 1] c. 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 notation that had a massive influence on the development of Western musical notation and practice.
The grand staff. When music on two staves is joined by a brace, or is intended to be played at once by a single performer (usually a keyboard instrument or harp), a grand staff (American English) or great stave (British English) is created. [dubious – discuss] Typically, the upper staff uses a treble clef and the lower staff has a bass clef.
Frank Cedric Staff was born to an Irish mother and an English father in the diamond mining town of Kimberley, in what is now the Northern Cape Province of South Africa.As a teenager, he moved to Cape Town, where he attended Diocesan College and received his early dance training from Helen Webb and Maude Lloyd, who had studied with Marie Rambert in London. [3]
One example of the Guidonian hand, from a Bodleian Library MS. The Guidonian hand was a mnemonic device used to assist singers in learning to sight-sing.Some form of the device may have been used by Guido of Arezzo, a medieval music theorist who wrote a number of treatises, including one instructing singers in sightreading.
Jeongganbo musical notation system. Jeongganbo is a traditional musical notation system created during the time of Sejong the Great that was the first East Asian system to represent rhythm, pitch, and time. [20] [21] Among various kinds of Korean traditional music, Jeong-gan-bo targets a particular genre, Jeong-ak (정악, 正樂).
There is evidence that the earliest Western musical notation, in the form of neumes in campo aperto (without staff-lines), was created at Metz around 800, as a result of Charlemagne's desire for Frankish church musicians to retain the performance nuances used by the Roman singers. [9]
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The Metz project also invented an innovative musical notation, using freeform neumes to show the shape of a remembered melody. [17] This notation was further developed over time, culminating in the introduction of staff lines (attributed to Guido d'Arezzo ) in the early 11th century, what we know today as plainchant notation.