Scan 731
The MacMillan EncyclopEdia Of Music And Musicians In One Volume-I, 1938
26 lines. Read by computer on 10 September 2026. Printed page 731. See the scan on archive.org.
1France at the Abbey of St. Maur des Fossés, where under Cluniac influence a remarkable activity in music had begun to manifest itself. A German abbot, Poncious (Teutonicus), had been head of the abbey during the closing years of the 10th century, and he has the credit of being the source from which Guido took the idea, which he subsequently popularized, of identifying the six notes of the natural hexachord by the syllables ut, re, mi, fa, sol, la, in the famous hymn glorifying St. John the Baptist's day. Odo (not Saint Odo) was the successor of Poncious; he had been choir-master at Cluny, and had arrived in company with Poncious at St. Maur, carrying on the musical traditions when Poncious retired to Cluny. Guido was naturally greatly enthused by his surroundings, and for some time worked hand in hand with Odo. They refer to one another in several of their works as "collaborators." Guido's travels appear to have taken him to England and Germany; later he returned to his native town, Arezzo, after which he is named. The bishop placed him in control of the choir school and commissioned his most famous work, Micrologus, probably in the year 1025. The fame of this work took him to Rome, where he expounded his theories and teaching at the Papal court. Guido's propaganda and writings developed from his practical work as a teacher and choir trainer. Three special improvements owe their general use to him: (1) by adopting the six syllables already mentioned, he greatly simplified mutation; the old Greek names were exceedingly awkward, and the alphabetical names belonged to the diapason or full octave, having no inherent musical significance; (2) he devised what became known as the "Guidonian Hand," a teacher's method of explaining the relation of one hexachord to another; (3) he popularized and developed the use of the staff; formerly the neumes represented the phrasing groups and general curves of a chant, but gave no clue to the exact intervals. His original staff is of great interest as the precursor of the modern system; it is extremely likely that it was devised after his return to Italy. He used a yellow line for C, a red line for F, and a green line for B flat when needed. Other notes were represented by black lines, and only as many lines were used as the compass of the music required. Guido's early writings were short and appear to have been written only as preface to his editions of the Chant. He wrote a full account of his methods in Micrologus; also many significant comments in regard to rhythm and methods of musical composition.
3Guidon (Fr.), a direct.
5Guidonian Hand, a diagram of a hand, with the syllables written on the tips and joints of the fingers, for use in memorizing the hexachords (scales). The syllables were called the Aretinian or Guidonian syllables, attributed to Guido d'Arezzo, an 11th century theorist.
7Guidonian Syllables, the syllables used by Guido to the notes of the hexachord, ut, re, mi, fa, sol, la; later si was added for the seventh note in the octave scale, and ut was changed to do.
9Guignon (Ghignone), Giovanni Pietro, Italian-French violinist and composer, born Turin, Feb. 10, 1702; died Versailles, Jan. 30, 1774. He studied with Somis and went to Paris in 1725 where he played at the "Concert Spirituel," was a member of the "Private Music of the Prince de Carignan" and the last of the "Rois de violon et des ménétriers." His compositions include sonatas, duos and trios for violin, sonatas for two 'cellos and pieces for horn. There is also a manuscript concerto in the Dresden Museum.
11Guilain, 17th-18th century French organist and composer. Gained a brilliant reputation as a performer and was a contemporary of Louis Marchand, celebrated organist of the Cordeliers, to whom his Suite du premier ton, 1706, was dedicated, this leading to the belief that Guilain may have been the pupil of Marchand.
13Guilarducci, 18th century Italian violinist and composer. According to Fétis he composed a violin concerto which was published in Paris.
15Guilbert, Yvette, French singer of chansons, born Paris, Jan. 20, 1867; internationally known for her interpretation of classic and modern chansons.
17Guildhall School of Music and Drama, The, English music and dramatic school, located in London, where it was founded in 1880 by the Corporation of the City of London. Originally located in Aldermanbury, it moved to its present quarters near the Victoria Embankment in 1887. The school offers courses for amateurs and professionals in both theoretical and applied music, as well as in acting and dancing; is recognized by the Teachers' Registration Council; and offers diplomas. Sir Landon Ronald is the principal, and Douglas Donaldson the registrar. There are numerous scholarships and prizes available yearly. The Guildhall School of Music and Drama Union is the center of the student social and artistic life, and concerts and recitals are given in the school theatre and concert hall. The library is well equipped with orchestral and operatic works, oratorios, piano pieces, songs, music literature and theoretical works. Since the opening of the school in 1880 nearly one hundred thousand pupils have attended.
19Guilelmus, Monachus, 15th century musical writer, author of De praecptis artis musicae, treating of English descant.
21Guilford, Lord, see North, Francis.
23Guilford, Nanette, American soprano, born at New York in 1905; made her début at the Metropolitan Opera, 1924. Her repertory includes the leading soprano rôles in most of the popular operas.
25Guilhaud, Henry, French composer, whose trio in C-minor was published in 1913.
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