Guido of Arezzo
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 Farina
He was born in Verona. He enrolled at the Cignaroli Academy in Verona in 1910 and made his debut in 1918 at an exhibition held by the city’s Pro Assistenza Civica organisation. He was associated with the artists of the Burano School in the 1920s and his urban views and landscapes were presented in the show of dissident artists at Ca’ Pesaro. His participation in the Venice Biennale began by invitation in 1924 with the 14th Esposizione Internazionale d’Arte della Città di Venezia. He was closely associated with the Novecento Italiano movement in this period and took part in the group’s first and second exhibitions (Milan, 1926 and 1929). His first solo show was held in 1931 at the Galleria del Milione, Milan, and he took part in the Prima Quadriennale Nazionale d’Arte in Rome, where the Galleria Mussolini bought one of his works. He made frequent trips to Paris as well as Britain, Germany, Switzerland and Austria. He also worked in the fields of decoration and fresco (Verona, Museo di Castelvecchio, 1925–1929, and Palazzo del Podestà, 1929–1930).