Modern scholars have often portrayed the method of hexachordal
solmization - the sight-singing method introduced by the
11th-century monk Guido of Arezzo - as the diatonic foundation of
early music. Stefano Mengozzi challenges this view by examining a
representative sample of the primary sources of solmization theory
from Guido of Arezzo to Gioseffo Zarlino. These texts show that
six-syllable solmization was only an option for sight-singing that
never imposed its operational 'sixth-ness' onto the diatonic
system, already grounded on the seven pitch letters. It was
primarily through the agency of several 'classicizing' theorists of
the humanist era that the six syllables came to be mistakenly
conceived as a fundamental diatonic structure - a 'hexachord' built
from the 'tetrachord' of the Ancient Greeks. The book will be of
particular interest to readers seeking to deepen their knowledge of
medieval and Renaissance musical thought with an eye to major
intellectual trends of the time.
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