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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).
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.
Also created a popular 18 symbol form of music notation [71] [68] Theinred of Dover (Theinredus Doverensis) 12th century De legitimis ordinibus pentachordorum et tetrachordorum: discussion of chromatically altered tones in plainsong [72] Tanchi (堪智) (1163 – 1237?) Japanese Introduced strict music theory of shōmyō, based on that of gagaku.
The idea of the Guidonian hand is that each portion of the hand represents a specific note within the hexachord system, which spans nearly three octaves from "Γ ut" (that is, "Gamma ut") (the contraction of which is "Gamut", which can refer to the entire span) to "E la" (in other words, from the G at the bottom of the modern bass clef [broken anchor] to the E at the top of the treble clef ...
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]
Tablature was common during the Renaissance and Baroque eras, and is commonly used today in notating many forms of music. Three types of organ tablature were used in Europe: German, Spanish and Italian. [1] To distinguish standard musical notation from tablature, the former is usually called "staff notation" or just "notation".
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. The whole body of ...
The notation became a popular teaching device in American singing schools during the 19th century. Shapes were added to the noteheads in written music to help singers find pitches within major and minor scales without the use of more complex information found in key signatures on the staff.