The Guidonian hand
Guido is somewhat erroneously credited with the invention of the Guidonian hand,[10][27][vague] 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 hexachords cannot be securely attributed to him.[28]
In the 12th century, a development in teaching and learning music in a more efficient manner had arisen. Guido of Arezzo's alleged development of the Guidonian hand, more than a hundred years after his death, allowed for musicians to label a specific joint or fingertip with the gamut (also referred to as the hexachord in the modern era).[citation needed] 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 century.[29] The knowledge and use of the Guidonian hand would allow a musician to simply transpose, identify intervals, and aid in 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.[30]
Legacy
Almost immediately after his death commentaries were written on Guido's work, particularly the Micrologus.[31] One of the most noted is the De musica of Johannes Cotto (fl. c. 1100), whose influential treatise was largely a commentary that expanded and revised the Micrologus.[32] Aribo (fl. c. 1068–78) also dedicated a substantial part of his De musica as a commentary on chapter 15 of the Micrologus.[33] Other significant commentaries are anonymous, including the Liber argumentorum and Liber specierum (both Italian, 1050–1100); the Commentarius anonymus in Micrologum (Belgian or Bavarian, c. 1070–1100); and the Metrologus (English, 13th century).[31]
Guido of Arezzo and his work are the frequent namesakes. The controversial mass Missa Scala Aretina (1702) by Francisco Valls takes its name from Guido's hexachord.[34] Lorenzo Nencini sculpted a statue of Guido in 1847 that is included in the Loggiato of the Uffizi, Florence.[35] A statue to him was erected 1882 in his native Arezzo; it was sculpted by Salvino Salvini.[36] Modern namesakes include the computer music notation system GUIDO music notation,[37] as well as the "Concorso Polifónico Guido d'Arezzo" (International Guido d'Arezzo Polyphonic Contest) hosted by the Fondazione Guido D'Arezzo in Arezzo.[38] A street in Milan, Via Guido D'Arezzo, is named after him.[39]
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).[11]
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