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Italian "solfeggio" and English/French "solfège" derive from the names of two of the syllables used: sol and fa.[2] [3]The generic term "solmization", referring to any system of denoting pitches of a musical scale by syllables, including those used in India and Japan as well as solfège, comes from French solmisation, from the Latin solfège syllables sol and mi.
" Ut queant laxis" or "Hymnus in Ioannem" is a Latin hymn in honor of John the Baptist, written in Horatian Sapphics [1] with text traditionally attributed to Paulus Diaconus, the eighth-century Lombard historian. It is famous for its part in the history of musical notation, in particular solmization. The hymn belongs to the tradition of ...
Guidonian hand, from 1274 Biblioteca Ambrosiana. Solmization is a mnemonic system in which a distinct syllable is attributed to each note of a musical scale.Various forms of solmization are in use and have been used throughout the world, but solfège is the most common convention in countries of Western culture.
Most notes of the solfege scale – namely re, mi, fa, sol, and la – derive their names from the first syllable of the lines of Ut queant laxis, a Latin hymn.
Giovanni Battista Doni named the "Aretinian syllables" after him. The names were taken from the first verse of the Latin hymn Ut queant laxis, where the syllables fall on their corresponding scale degree. This system later came to be known as solfège. Giovanni Doni is known for having changed the name of the note "Ut" to "Do". [6]
Most scholars believe that Guido of Arezzo's Solfège musical notation system had its origins in a Latin hymn, [21] but others suggest that it may have had Andalusi origins instead. According to Meninski in his Thesaurus Linguarum Orientalum (1680), Solfège syllables may have been derived from the syllables of an Arabic (Moorish) solmization ...
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Ode 4.11 is neumed with the melody of a hymn to John the Baptist, Ut queant laxis, composed in Sapphic stanzas. This hymn later became the basis of the solfege system (Do, re, mi...)—an association with western music quite appropriate for a lyric poet like Horace, though the language of the hymn is mainly Prudentian. [98]