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Topic: Guidonian hand

	An Exhibition Honors the Human Hand (Site not responding. Last check: 2007-10-10)
		The flipping-off hand (in the Middle Ages Isidore of Seville reported that the offending finger was known as impudicus, or shameless).
		The left being the sinister hand, it is unsurprising to learn that women have darker fortunes: a woman with the signs on her thumb will be killed by her own husband, while one with signs on her gold — ring — finger will be buried alive or hanged.
		Here we have the hand as instrument of meditation (in an elegant 1589 engraving of St. James Minor by Hendrick Goltzius), the hand being taught to write (by God, who reaches out of the clouds to help man form the letter M — for manus?) and the hand thrusting a frying pan into the fire.
	www.bebeyond.com /LearnEnglish/DailyReadings/Arts/Exhibition.htm (1261 words)

	Guidonian Hand Information
		The Guidonian Hand that the band uses as a logo is an ancient educational aid developed by a Benedictine Monk named Guido d'Arezzo in the 11th century.
		Essentially, notes of the scale are assigned to the various joints and lines on the hand, and a teacher would point to each line or joint to aid in memorization of music.
		The hand was used primarily to instruct vocalists with hymns, and incorporated Guido's invention of the solmization of the scale (using sung syllables, i.e.
	www.attilaanddaveproject.com /guidonian.html (255 words)

	ZARLINO
		In Renaissance times, if one wished to identify a degree of the Hand completely, it was the custom to follow the key letter with the voice or voices with which it could be implemented, beginning with the lowest hexachord.
		On the other hand, if we are to maintain all the thirds of the hexachord (ut-mi, re-fa, mi-sol and fa-la) as pure, following the logic of the sintono, the only solution is to place the minor tone (t) between ut and re, and the major tone (T) between re and mi.
		In the new Hand, it occurs for the key "d" between the sol of a hard hexachord and the re of a natural hexachord, this latter coincident in pitch with the la of a soft hexachord.
	www.medieval.org /emfaq/zarlino/article2.html (3687 words)

	Lunday: Hands (Site not responding. Last check: 2007-10-10)
		Now this man whose hands had touched the children mangled by our bombs would heal the consequences of my over-reaching…something to that effect was in her mind, I guess; an artful bit of moral origami.
		The hand is the source and destination of the idea of handedness, of chirality: everything worth understanding and worth seeing, everything worth remembering and abiding, is chiral: “worth” is a hand; perfection itself is chiral as it enters time and matter.
		The hand is where many are spokes to the one; fingers mimic the many of the tribe, the many tribes of the world; the palm is a seat of self, ensconced, armed.
	www.robertlunday.com /hands.htm (6304 words)

	MTO 4.3: Mengozzi, Review of Pike, Hexachords in Late-Renaissance Music
		On the one hand, the rules of counterpoint operate in a cyclical space that stretches without seams from the lowest to the highest pitch (and vice versa), and that is expressed by the seven letter names.
		It is true that the strong presence of the Guidonian syllables in medieval and Renaissance music treatises seems to indicate that the centrality of the semitone within the hexachord must have had unequivocal implications for contemporary listeners.
		On the one hand, the subtleties of musical structure that he brings to light through musical analysis are to account for the experience of listening of the Renaissance cognoscenti; on the other hand, unconfirmed hypotheses about the listening skills and mental musical processes of the cognoscenti are supposed to justify the validity of the analyses.
	www.societymusictheory.org:16080 /mto/issues/mto.98.4.3/mto.98.4.3.mengozzi.html (4522 words)

	Computer Animations as a Tool for Teaching the Evolution of Musical Form
		The Guidonian Hand associated each pitch with a joint in the hand.
		The hand took into account the B natural in the G hexachord and the B flat in the F hexachord.
		The drawing of the hand itself did not appear in treatises until the late 13th century.
	www.mtsu.edu /~itconf/proceed01/5.html (1338 words)

	Untitled Document (Site not responding. Last check: 2007-10-10)
		However, now in all countries except France, Do is used as the syllable for the first note of the scale instead of Ut. Guido D'Arezzo designed a system of placing the notes of the scale on his hand.
		There was a symbol for each note on a different part of his hand so he could just point to the symbols and a whole song could be sung.
		He also designed the system of placing notes on horizontal lines to notate pitches, which was the origin of the staff.
	t3.preservice.org /T0401965/History.htm (120 words)

	Dreams Machine > The Immaterial World - Music Sound
		One example of the Guidonian hand, from a Bodleian Library MS In Medieval music, the Guidonian hand was a mnemonic device used to assist singers in learning to sight sing.
		The Guidonian hand is closely linked with Guido's new ideas about how to learn music, including the use of Hexachords, and the first use of Solfege, which is also attributed to him.
		The Guidonian hand was reproduced in numerous medieval treatises.
	www.sfetcu.com /modules.php?name=Music_Sound-MM&page=Guidonian_hand.html (301 words)

	MTO 4.3: Mengozzi, Review of Pike, Hexachords in Late-Renaissance Music
		On the one hand, the rules of counterpoint operate in a cyclical space that stretches without seams from the lowest to the highest pitch (and vice versa), and that is expressed by the seven letter names.
		It is true that the strong presence of the Guidonian syllables in medieval and Renaissance music treatises seems to indicate that the centrality of the semitone within the hexachord must have had unequivocal implications for contemporary listeners.
		On the one hand, the subtleties of musical structure that he brings to light through musical analysis are to account for the experience of listening of the Renaissance cognoscenti; on the other hand, unconfirmed hypotheses about the listening skills and mental musical processes of the cognoscenti are supposed to justify the validity of the analyses.
	mto.societymusictheory.org /issues/mto.98.4.3/mto.98.4.3.mengozzi.html (4522 words)

	Chiromancy at AllExperts
		Chiromancy or cheiromancy, (Greek cheir, "hand"; manteia, "divination"), is the art of characterization and foretelling the future through the study of the palm, also known as palmistry, palm-reading, chirology or hand analysis.
		A reader usually begins by reading the person's 'dominant hand' (the hand he or she writes with or uses the most).
		For example, the ring finger is associated with the Greek god Apollo; characteristics of the ring finger are tied to the subject's dealings with art, music, aesthetics, fame, and harmony.
	en.allexperts.com /e/c/ch/chiromancy.htm (1559 words)

	The MusiCurmudgeon - January 4, 2005
		Enlisting the assistance of Watkins, and their fellow associates in the local chapter of the Hand, the inheritors of the craft were able to harness the power of an unknown alien culture to amplify their pursuit of knowledge.
		With a satchel brimming with bills in hand and heavy overcoat covering his bulk, Charles Tyron felt almost spring-like standing at the doorstep of the Guidonian Hand.
		At the gate, he showed the credentials that the Hand had prepared for him to the ushers, who after expressing surprise at his appearance, especially lacking a carriage and entourage, hastened to make arrangements to seat the visiting dignitary.
	www.concertlivewire.com /crum51.htm (5497 words)

	Additions to the Liturgy
		The so-called Guidonian hand assigned each pitch and its hexachordal names to a knuckle of the hand, serving as a mnemonic device.
		These pieces are thought to have served as accompaniment to liturgical action, as the celebrant moved from one location to another within the church or chapel.
		The trope, on the other hand, adds new textual and musical material to a pre- existent liturgical composition, particularly introits (the introductory chant for the mass) and the shorter chants of the ordinary.
	www.cartage.org.lb /en/themes/Arts/music/vocalmusic/liturgical/introduction/musical.htm (649 words)

	Elizabeth Haydon Lore The Guido Scale
		Later, when the seventh tone of the diatonic scale was added into popular use, the initials of the Latin words in the last line of the song, Sancte Ioannes, were combined, for Si, later changed to Ti.
		The followers of Guido d'Arezzo came up with the idea of representing scale pitches on different joints of the left hand fingers to teach memorization of the scales.
		The ritual uses the real-life Guidonian Hand method as its basis for the song that catches and ensnares the demonic spirit.
	www.elizabethhaydon.com /guido.aspx (1079 words)

	Solfa In The School (Site not responding. Last check: 2007-10-10)
		This way made it so easy because he could just point to a symbol on his hand and the monks would be able to sing the corresponding note.
		A whole song could be sung just by him poining to different spots on his hand.
		The “Guidonian Hand “ was used throughout Europe.
	t3.preservice.org /T0401286/guido.html (135 words)

	[No title]
		Cupped hands, hollow logs and echoes from the caves are examples of primitive voice technology to augment voice that can be found very early in human history.
		Von Kempelen's model (1791) - used hand control of a leather “vocal tract” to vary the sounds produced, with a bellows for lungs, auxiliary holes for nostrils, and reeds and other mechanisms for the voiced and fricative (sibilant) energy required.
		Breathing is controlled by the bellows, and the left hand controls vowels and constants via buttons (presets), or continuous controllers such as a touch pad, plungers, or squeeze interface.
	www.iua.upf.es /activitats/semirec/perryCook.htm (1956 words)

	Guido of Arezzo - Wikipedia, the free encyclopedia
		This may have been based on his earlier work at Pomposa, but the antiphoner that he wrote there is lost.
		Guido is also credited with the invention of the Guidonian hand, a widely used mnemonic system where note names are mapped to parts of the human hand.
		The Micrologus, written at the cathedral at Arezzo, contains Guido's teaching method as it had developed by that time.
	en.wikipedia.org /wiki/Guido_d'Arezzo (511 words)

	Hands bearing information - guidonian (Site not responding. Last check: 2007-10-10)
		The Harmonic Hand of Guido D'Arezzo, Sacerdotale Juxta S.Romanae Ecclesiae, Venice Petri Rabani 1554.
		This is also known as the GUIDONIAN HAND.
		The hand is marked with the hours of the day and from the markings can be divined the best date for a decision or when an event will happen.
	www.fulltable.com /VTS/h/hand/h.htm (124 words)

	Solfege, Solfeggio, Fasola or Shape Note Singing Introduction at Vocalist
		Solfege, Solfeggio, Sol-fa, Fasola, Shape Note Singing and sight singing are all terms used to describe a system that was developed to provide the singer with a visual clue for which note to sing.
		This is achieved either with hand signals or sheet music which uses notes that instead of being oval in shape, are designated with shapes like triangle, square, diamond, etc., or a combination of both hand signals and written music.
		The system is generally accredited to Guido d' Arezzo (associated symbols ut, re, mi, fa, sol, la and the term "Guidonian Hand") who created this method of allocating shapes to notes on the scale in an effort to help his monks learn chants and melodies for the mass.
	www.vocalist.org.uk /solfege.html (1641 words)

	Medieval Europe 814-1450: Music: Systems of Notation \| Arts Through the Eras: Medieval Europe 814-1450
		Guido's first invention was to assign the notes of the scale (mode) to the knuckles of his hand, so that by pointing to a particular knuckle he could direct the choir boys to sing a certain pitch.
		The "Guidonian Hand" caught on very quickly and even after the development of the staff it remained one of the easiest ways to teach chant, staying in use for hundreds of years.
		Guido's next invention was to mark two parallel lines on paper, representing the pitches "c" and "f" which provided two exact places where the singer could orient his voice, with the other notes located either above or below these lines, graphically representing their relationship to the two known pitches.
	www.bookrags.com /research/medieval-europe-814-1450-music-ahe-03/systems-of-notation-ahe-03.html (747 words)

	Guido of Arezzo Summary
		Guido or one of his disciples also invented a memory aid for learning the names of all the notes in his musical system, which extends over a range of 20 white keys on the piano: the so-called Guidonian hand.
		Here the note names of the system were written on the various portions of the left hand and fingers, so that they could be read off by the pupil.
		Guido is also credited with the invention of the Guidonian hand, a widely used mnemonic system where note names are mapped to parts of the human hand.
	www.bookrags.com /Guido_of_Arezzo (903 words)

	arezzo
		The Hand of Guido (also known as the Guidonian Hand) is based on the solmization which Guido is credited with having developed c.1025.
		Since the hymn ascends from one note of the scale to another at the beginning of each line as the music proceeds, the association between each scale tone and the syllable at the beginning of the line.
		guido apparently pointed to positions on his hand corresponding to this system to instruct the choir what to sing.
	www.mundoblaineo.com /arezzo.html (249 words)

	The Hand of Guido
		There are many representations of the Hand in music tretises, beginning in the 13th century and carrying on for as long as the hexachord system was used, deep into the 16th century.
		The former is less schematic, better showing where the notes lie on the hand, the latter is far more legible.
		Thus we have Guido d'Arezzo to thank for the basis of the staff notation that we use to this day, and the names of the notes (letter names as well as solemization), and can credit him with an idea that found life again seven centuries later in the mind of Carl Orf.
	ieee.uwaterloo.ca /praetzel/mp3-cd/info/raybro/solmization.html (1090 words)

	Hexachords - Basic System
		An interesting tool for visualizing and memorizing the regular gamut is the Guidonian hand: The drawing of a hand with the notes of the gamut and their possible solmization syllables placed near the joints of the thumb and fingers.
		In navigating the 20 steps of the regular gamut shown on the hand, we may find it helpful to note that medieval octaves are often counted from A to A. Thus above gammaut (represented by the capital Gamma of the Greek alphabet), or G2, we have A-G (A2-G3), a-g (A3-G4), and aa-ee (A4-E4).
		It is sometimes suggested that a choir director may actually have pointed to the joints of this hand - or of an actual human hand - in order to indicate the desired notes.
	www.medieval.org /emfaq/harmony/hex1.html (2638 words)

	Guido d'Arezzo
		He even created a method to teach the syllables by pointing to sections of his hand.
		The "Guidonian Hand" has been immortalized in numerous illustrations and was used widely as a teaching tool.
		Guido's innovative teaching methods even garnered attention from the Papacy in Rome where he gave a demonstration of his teaching techniques to Pope John XIX in 1028.
	stevenestrella.com /composers/composerfiles/guido1050.html (437 words)

	VortexMaps.com (Site not responding. Last check: 2007-10-10)
		With music treatise from the English Renaissance in hand we need not read far to know the cause why music was ordained.
		It was a convention, carried on from the middle Ages, to begin any discussion of music with a brief recapitulation of music's etymology, definition, inventors and psychological effects.
		The hand is quite poor, errors are frequent and rewrites prevalent.
	www.vortexmaps.com /htmla/fludd.php (3524 words)

	DaveWells.us: Mission San Luis (Site not responding. Last check: 2007-10-10)
		Each joint of the hand is assigned a number, and what appear to be solfege (do, re, mi, etc.) syllables.
		The hand goes along with his teaching methods.
		He used different parts of the hand to correspond to the different syllables.
	davewells.us /archives/2005/06/mission_san_luis.shtml (812 words)

	MUSI 1308: Quiz 4 (Site not responding. Last check: 2007-10-10)
		The Hand used to teach sightsinging was called the ________________
		The Bar Form was used by the ____________________.
		A ___________________________ organ is an organ which can be carried and played by one individual, whose right hand plays the keyboard while the left hand works the bellows.
	www.vc.cc.tx.us /~mlfletch/musiclit/quiz4.htm (174 words)

	SoWeirdProductions » The history of notation (Site not responding. Last check: 2007-10-10)
		Guido is also famous for the ‘Guidonian Hand’, a teaching method whereby new melodies could be read more easily by means of a tune whose various phrases each began on the next note of the scale.
		Guidonian hand from a manuscript from Mantua, last quarter of 15thC (Oxford University MS Canon.
		Most scholars accepted that notated polyphony of this period required performers to interpret under-prescriptive notation in accordance with their training (by contrapuntal and melodic criteria about which scholars disagree), ensuring the perfection of consonances, and approaching cadences correctly.
	www.soweirdproductions.com /?page_id=291 (2811 words)

	Collage :: Music :: Carthage
		Coming out diagonally from the clouds is the Guidonian hand.
		It was used as a map; if a teacher would point to a certain part of the hand, the pupil was expected to sing the right pitch.
		Overlaying the hand is a portion of the Earth which shows Europe, which is the origin of the music we've studied.
	www.carthage.edu /dept/music/picture (727 words)

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