期刊名称：International Review of the Aesthetics and Sociology of Music
印刷版ISSN：0351-5796
出版年度：2007
卷号：38
期号：2
页码：143-170
出版社：Hrvatsko muzikološko društvo, Razred za glazbenu umjetnost i muzikologiju HAZU, Sveučilište u Zagrebu – Muzička akademija
摘要：Chapter 17 is the most controversial section of Guido's Micrologus. Even medieval commentators were unsure of its intent. A thoughtful attempt to explain its purpose was made by van Waesberghe in his 1951 article "Guido of Arezzo and Musical Improvisation." Guido, he argued, intended to initiate students into the art of improvisation through an innovative methodology: aligning the vowel series along definite points of the gamut. This essay explores the possibility that chapter 17 might have had a different significance: that Guido designed it as a logical continuation of the subject matter he had been pursuing in chapters 15 and 16 - namely, the aesthetics of chant. Moreover, his notion of aesthetics illustrates what the great 20th century philosopher Eli Siegel explained is universal in world aesthetics: the oneness of opposites. Taken as a unit, chapters 15-17 (with chapter 14 functioning as a "prelude") are an an introductory text in "songwriting." Guido is not so much interested in improvisation, as in the creation of new chant: a oneness of word and melody which is relatively "fixed." Evidence suggests that the rules in chapter 17 are there to encourage a student to appreciate the expressive impact of vowel recurrence. The rules are not arbitrary; they make sense on heuristic terms. The essay includes a close study not only of Guido's text and musical examples, but also the De musica of Johannes Affligemensis and the anonymous Liber Argumentorum.
关键词：Guido d'Arezzo; Micrologus; van Waesberghe; Johannes Affligemensis; De musica; Eli Siegel; Aesthetic Realism; Liber Argumentorum
