Editing Guido of Arezzo (section)

==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"}}