When was the Guidonian hand introduced?
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In Medieval music, the Guidonian hand was a mnemonic device used to assist singers in learning to sight-sing. Some form of the device may have been used by Guido of Arezzo, a medieval music theorist who wrote a number of treatises, including one instructing singers in sightreading. The hand occurs in some manuscripts before Guido's time as a tool to find the semitone; it does not have the depicted form until the 12th century. Sigebertus Gemblacensis in 1105–10 did describe Guido using the joints of the hand to aid in teaching his hexachord. The Guidonian hand is closely linked with Guido's new ideas about how to learn music, including the use of hexachords, and the first known Western use of solfege.
Guidonian hand
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In the 12th century, a development in teaching and learning music in a more efficient manner had arisen. Guido of Arezzo's alleged development of the Guidonian hand, more than a hundred years after his death, allowed for musicians to label a specific joint or fingertip with the gamut (also referred to as the hexachord in the modern era). Using specific joints of the hand and fingertips transformed the way one would learn and memorize solmization syllables. Not only did the Guidonian hand become a standard use in preparing music in the 12th century, its popularity grew more widespread well into the 17th and 18th century. The knowledge and use of the Guidonian hand would allow a musician to simply transpose, identify intervals, and aid in use of notation and the creation of new music. Musicians were able to sing and memorize longer sections of music and counterpoint during performances and the amount of time spent diminished dramatically.
Guido of Arezzo
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In the 14th century, this system was expanded to hexachords that would accommodate an increased use of signed accidentals. From this time onward, the use of such notes was called musica ficta.
Guidonian hand
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Salmon in 1672 published an "Essay to the Advancement of Musick" proposing the disuse of the Guidonian hand and its nomenclature, and the substitution of the plain first seven letters of the alphabet. Salmon proposed the modern octave system, which William Bathe had already recommended. Salmon also added a proposal to give up the tablature then used for the lute, and in all music to substitute for the clefs the letters B, M, T (bass, mean, treble), each stave having G on the lowest line.
Thomas Salmon (musicologist)
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The hexachord as a mnemonic device was first described by Guido of Arezzo, in his "Epistola de ignoto cantu" and the treatise titled "Micrologus". It was the most basic pedagogical tool for learning new music in the European Middle Ages, and was often referenced in contemporary musical theory. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named "ut", "re", "mi", "fa", "sol", and "la", with the semitone between "mi" and "fa". These six names are derived from the first syllable of each half-line of the 8th century hymn "Ut queant laxis".
Guidonian hand
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Each hexachord could start on G, C or F and the adjacent table, reading upwards from the bottom, shows the notes in each hexachord for each of three octaves. Reading from left to right could, within certain limits, permit notes within different octaves to be distinguished from each other. Thus, C (modern "c") was "C fa ut" (or "Cefaut"), c (modern c′) was "C sol fa ut", and cc (modern c″) was "C sol fa". Since the lowest pitch was designated by the Greek letter Γ (gamma, for 'g'), the pitch was known as "Gamma ut" or "Gamut", a term which came to designate the range of notes available, and later, a complete range of anything.
Guidonian hand
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This device allowed people to visualize where the half steps of the gamut were, and to visualize the interlocking positions of the hexachords (the names of which—"ut re mi fa sol la"—were taken from the hymn "Ut queant laxis"). The Guidonian hand was reproduced in numerous medieval treatises.
Guidonian hand
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"We designed the building from the inside out, not the outside in,” said Loretta H. Cockrum, Foram’s founder, chairman and CEO. “We wanted the most efficient office building ever designed, with no wasted space or wasted energy. This is a building of the future more than a building of the present. A lot of love has gone into that building, and a lot of pride."
Brickell World Plaza
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This enzyme belongs to the family of oxidoreductases, specifically those acting on paired donors, with O2 as oxidant and incorporation or reduction of oxygen. The oxygen incorporated need not be derived from O2 with 2-oxoglutarate as one donor, and incorporation of one atom o oxygen into each donor. The systematic name of this enzyme class is N6,N6,N6-trimethyl-L-lysine,2-oxoglutarate:oxygen oxidoreductase (3-hydroxylating). Other names in common use include trimethyllysine alpha-ketoglutarate dioxygenase, TML-alpha-ketoglutarate dioxygenase, TML hydroxylase, 6-N,6-N,6-N-trimethyl-L-lysine,2-oxoglutarate:oxygen oxidoreductase, and (3-hydroxylating). This enzyme participates in lysine degradation and L-carnitine biosynthesis and requires the presence of iron and ascorbate.
Trimethyllysine dioxygenase
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The Ġgantija temples were listed as a UNESCO World Heritage Site in 1980. In 1992, the Committee decided to expand the listing to include five other megalithic temples situated across the islands of Malta and Gozo. The Ġgantija listing was renamed "the Megalithic Temples of Malta"
Ġgantija