Editing Guido of Arezzo (section)

===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}}