Youtor
Ut queant laxis
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This is how I remembered the famous tetragram from which the names of the musical notes were taken, when I recorded it. Thanks for your comments! • 🎧Stream it: http://bit.ly/ut-queant-laxis_streaming • 🎵MP3 Download : https://www.dussum.com/store/p2/utque... • 🔸License music for videos, film and media projects: http://bit.ly/ut-queant-laxis_license • Ut queant laxis is the first verse of the Hymn to Saint John the Baptist. • From the first syllables of the verses of this hymn is taken the name musical notes of modern Latin notation, made by Guido de Arezzo in the eleventh century. • Guido de Arezzo used the first syllable of each stanza, except the last one: ut, re, mi, fa, sol, la. Centuries later, Anselmo of Flanders introduced the name if for the missing note, combining the initials of Sancte Ioannes. • Later, in the seventeenth century the Italian musicologist Giovanni Battista Doni replaced the note ut for do, because this syllable facilitated the solfeggio because it finishes in vocal: • 0:00 UT queant laxis (Ut = Do) • 0:05 REsonare fibris • 0:09 MIra gestorum • 0:15 FAmuli tuorum • 0:20 SOLve polluti • 0:25 LAbi reatum • 0:30 Sancte Iohannes (SI) • - • Voice: Joan Anton Mateu • - • More details on the names of the notes: • In the writings of Al-Mamún (786-833) and Ishaq Al-Mausili (f. 850) a musical notation based on the letters of the Arabic alphabet was used: • Arabic letters ﻡ mīm ﻑ fāʼ ﺹ ṣād ﻝ lām ﺱ sīn ﺩ dāl ﺭ rāʼ • Musical notes mi fa sol la si do re • It was during this period of Islamic contributions in medieval Europe that the Friulian Benedictine monk Paul the Deacon (720-800) composed the hymn Ut queant laxis. In the initial syllable of each verse, he put the Arabic name of the notes, although using as the initial note the do, which he renamed ut. • This durr-i-mufassal ('separated pearls') system was used in the works of Al-Kindi (f. 874), Yahia ibn Ali ibn Yahia (f. 912), Al-Farabi (870-950), Ibn Sina (f. 1037), Al-Hussain ibn Zaila (f. 1048) and others. • The copyist of the manuscript of the gradual Viderunt omnes (copied in the second half of the 11th century) drew a horizontal line on the parchment that corresponded to a particular note and oriented the neumes around that line, which in the manuscript corresponded to the note la . In other manuscripts, the line was marked with the letter corresponding to the note it represented, almost always F (fa) or C (do), which later evolved to give rise to the keys used today. • The Italian Benedictine monk Guido de Arezzo (992-1050) ―considered the father of musical notation because he developed a notation within a pattern of four lines (tetragram, predecessor of the modern pentagram), and not a single one as was done previously― an approximation to the current notation, and popularized the names used in the Hymn to Saint John the Baptist by Paul the Deacon. However, he excepted the seventh note, yes, which was a variable note and could give rise to the tritone, which in his time was considered a diabolical interval (diabulus in music). • In 1680, Franciszek Meninski (1623-1698), in his Thesaurus linguarum orientalum, enunciated the hypothesis that the syllables of the solfeggio (do, re, mi, fa, sol, la, si) could have been derived from the syllables of the Arabic system durr-i-mufassal ('separate pearls'): dāl, rā', mīm, fā ', ṣād, lām, tā', during the time of Islamic contributions to medieval Europe. • In 1780, Jean-Benjamin M. de Laborde (1734-1794) affirmed the same in his Essai sur la musique ancienne et moderne. • Guillaume Andre Villoteau (d. 1839), French scholar who was part of Napoleon's expedition to Egypt, suggested that Muslim musical notation may have influenced Guido D'Arezzo. • Around the 16th century, Anselmo de Flandes added the musical note si, derived from the first letters of Sancte Ioannes. In the 18th century, the Italian musicologist Giovanni Battista Doni - to avoid the complexity caused by the letter «t» of ut, and looking for a syllable that ended in a vowel to facilitate the solfege - substituted the name of ut for the original name of the note in Arabic: dāl. He modified it slightly to resemble the beginning of his own surname: do (which has also been made to come from Dominus or 'Lord'). In France, the name ut is still used for technical or theoretical terms (for example trumpette en ut or clé d’ut), although the monosyllable do is used for solfeggio. • Also in this process, a fifth line was added to the four that were used to write music, reaching the way we know it today, called the pentagram. • After these reforms and modifications, the notes became those that are currently known: do re mi fa sol la si. • Source: wikipedia • #utqueantlaxis • #gregorianchant • #musichistory
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