The heptachordal basis of hexachordal theory: on the semiotics of musical notation in the Middle Ages
Stefano Mengozzi
ABSTRACT By all appearances, the advent of a full-fledged hexachordal system in late thirteenth century marked culmination radical reconceptualisation diatonic space that had begun over two centuries earlier with Guido Arezzo's introduction syllables ut re mi fa sol la as an aid to sight-singing. An early witness new configuration is Johannes de Garlandia's Introductio musicae planae (c .1275 ) , which presents three proprietates per b quadro, natura and molle fundamental articulation gamut necessary for conveying intervallic distances between pitches. A contextual evaluation theory however, indicates parsing was not meant establish major sixth regulative paradigm (i.e. normative scale), but rather line understanding ut-la optional singing. The development fact implicit confirmation heptachordal structure been place since around year 1000 (and arguably earlier), when cycle seven A–G letters first used label constituent pitches octave.
Plainsong & Medieval Music