Музыкальное искусство и образование (Dec 2020)
Phonetic Symbolism of the Syllabic Notation of Guido Aretinsky in the Context of Thinking and Musical Education Oral and Written Tradition
Abstract
Created by Guido Aretinsky more than a thousand years ago, the syllable notation has long been established in the professional tradition and has made a significant contribution to the development of the written musical culture of Western Europe. However, despite the new written paradigm, the musical tradition retained traces of orally for a long time to come. Reconstructing the process of inventing the hexachord, on the basis of which the solimization system was developed, the author of the article analyzes the hypothesis according to which Guido consciously selected and combined in this didactic construction the melody and lyrics of the anthem “Ut queant laxis”, which previously existed separately. The author concludes that the criterion selection of the first stanza of the hymn of st. John the phonetic correspondence of the initial syllables of its phrases to the modal structure of the hexachord served. The half-tone interval, difficult to intonate, occupies a special place in the hexachord. Its location is highlighted in the syllabic notation of Guido Aretinsky in a specifically oral way, designed not for visual, but for auditory perception. The syllable “mi” contains the vowel [i], which in linguistics is associated with a small value. The correlation between a syllable with a vowel [i] and a single semitone is considered as a manifestation of sound or phonetic symbolism characteristic of oral thinking of the West and the East. The sound symbolism laid down by Guido Aretinsky is still relevant today, especially at the initial (“before- notes”, oral) stage of music training. The use of various variants of relative solimization systems in modern musical education based on modified Guido syllables, in which the location of the vowel [i], as a rule, is associated with a semitone, contributes to the formation of auditory representations of the mode function and the formation of expressive intonation.
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