While I am preparing for the tes SEND Show
I am happy to keep updating the issuu publication of The Lost Legacy for feedback
First Up The Recently Discovered Translated Notebook of Guido D'Arezzo From 1020 to 1026 – The Publication of the ‘Micrologus’
Next – Draft of …The Happy PLAYing System Triad With The Background to The X-VAKTOR
Coming Soon –Happy PLAYing By E-AR Emoji Accessibility Revolution
From
Date: March 15th, 1020
I find myself reflecting deeply upon the frustrations I have observed in the young boys of the choir. Their struggles with the centuries-old neumes weigh heavily on my heart.
These symbols, while somewhat meaningful, or more correctly able to be recalledto the older ones after years of work, are burdensome for the children. I watch them toil day after day, their brows furrowed in concentration, yet progress is painfully slow. Repetition after repetition is the only way!
How can I, as their teacher and guide, make this learning not just more effective but also more joyous? I must devise a system that will lighten their burden and quicken their understanding.
Date: May 18th, 1020
Today, I began experimenting with a new idea one that has been forming in my mind for some time now. As I observed young Stefano, a bright but easily distracted boy, I noticed how he responds to visual stimuli. The neumes are a rough guide only, too distant from the actual notes they represent. What if I could bring the music closer to them, make it more tangible? I drew a simple staff on the parchment, adding lines and spaces, but something was missing. It lacked the clarity I sought.
Then, inspiration struck: COLOUR!!.
Date: August 25th, 1020
Color has proven to be a revelation. The red F line and yellow C line provide an anchor for the boys as they navigate the complexities of the staff. I have begun using this method with the other boys as well, particularly with Pietro, who struggles with what we now might call dyslexia. The colours help him differentiate the notes, making it easier for him to read the music. His usual frustration has given way to a newfound enthusiasm. He eagerly practices his parts, tracing the lines with his finger and singing the notes aloud. What they see seems to be working miracles.
Date: February 2nd, 1021
As I continued to refine the visual aspect of my system, I could not ignore the challenges posed by the neumes when it comes to what the boys hear. The abstract nature of the neumes leaves them uncertain of the pitch they should produce. I have been thinking long and hard about how to simplify this. The answer, I believe, lies in giving the notes names they can remember and sing easily. A sound based on a scale method – I wonder what to call it!
I recall an old Latin hymn, "Ut Queant Laxis," which rises in a scale and could serve as a mnemonic device. Today, I introduced the boys to this concept, assigning each note a syllable from the hymn. We began with "Ut," followed by "Re," "Mi," "Fa," "Sol," and "La." The boys were delighted especially young Gianpaolo, who has always struggled with pitch. By associating each note with a syllable, he was able to sing the scale accurately for the first time. The chant flows naturally, and the boys find it easy to recall. This is the beginning of something profound, I am certain.
Date: April 20th, 1022
The auditory method is taking hold. Every morning, I gather the boys in a circle, and we sing the scale together. "Ut, Re, Mi, Fa, Sol, La." The melodies of the hundreds of chants with this method stays with them throughout the day. I see them humming it to themselves as they go about their chores. Even Andrea, who has always struggled with memory, can now recall the scale without hesitation. The neumes are becoming less and less necessary as they internalize the scale through this simple chant. It is astonishing to witness their progress.
Date: September 10th, 1023
Today, I faced a new challenge with Luca, a boy who has difficulty sitting still for long periods. He seems to learn best when he is moving or engaging physically with the material.
This gave me an idea what if I could incorporate movement into the teaching of the notes? I have long known of the practice of writing notes on the hand, but I have never fully utilized it in my teaching.
I took Luca aside and showed him the Guidonian hand, a method I have been developing in secret. I had written all over my hand!
I assigned each joint of the fingers a specific note, and together we traced the notes on his hand as we sang the scale. Luca was thrilled! His eyes shone with understanding as he physically engaged with the music.
By touching the notes, he internalized their positions in a way that no amount of repetition could achieve. I plan to introduce this method to the rest of the choir.
Date: January 2nd, 1024
The Guidonian hand has become a favorite among the boys. They eagerly trace the notes on their hands and have even begun using it to help each other learn new parts.
The physical act of touching the notes seems to solidify their understanding in a way that no other method has. I watch with pride as Matteo, who has always struggled with abstract concepts, now confidently sings his parts, using his hand as a guide. The tactile element of learning has unlocked a new level of comprehension for him.
Date: July 15th, 1024
The Bishop visited today. He has heard of the progress my choir has made, and he is intrigued by my methods. I demonstrated the system to him the colored staff, the solfege syllables, and the Guidonian hand. He was impressed, particularly by how quickly the boys have advanced.
He sees the potential for this system to be used more widely, perhaps even throughout the diocese. I cannot help but wonder if this could reach even further. If the Pope himself were to see the value in this system, it could change the way music is taught across Christendom.
Date: May 1st, 1025
The choir is flourishing. Each boy has found a method that resonates with him whether it is what they see in the colors, what they hear in the solfege syllables, or what they touch in the Guidonian hand. I am more proud than ever as I watch them grow in confidence and skill. Tommaso, who once struggled to keep up with the others, now sings with a clarity and confidence that astounds me.
His mother came to me in tears today, thanking me for the change she has seen in him. She said he used to be shy and withdrawn, but now he sings at home, teaching his younger siblings the chants. This is the power of music, and it fills my heart with gratitude.
The Recently Discovered Translated Notebook of Guido D'Arezzo From 1020 to 1026 – The Publication of the ‘Micrologus’
Date: November 10th, 1025
As I continue to refine and perfect this system, I cannot help but think of the future.
The Bishop has given his blessing, and there is talk of presenting these methods to the higher clergy. I have begun writing down my ideas in a book that I shall call "The Micrologus."
My Anglo-Saxon friends say it means "Small Manual," which seems fitting for this work.
It will be a guide for other choir masters, a way to share the fruits of my labor with the world.
The work is slow, as I want to ensure that every detail is correct, every method explained clearly and thoroughly.
This is my legacy, and I hope it will endure long after I am gone.
. Date: April 1st, 1026
The Micrologus is nearly finished. I have written the final chapter, detailing how to combine what the boys see, hear, and touch into a cohesive system.
This, I believe, is the key to unlocking the potential of every child, regardless of their learning style or abilities. As I write these final words, I am filled with a sense of completion, of fulfilment. This work has been my life's calling, and I am proud of what I have accomplished.
Date: August 30th, 1026
Today, I presented the finished manuscript to the Bishop. He was pleased with the work and promised to send it to Rome. As I watched him leave with the book, I felt a deep sense of peace. My work is done, and now it is in God's hands. I pray that it will be received well and that it will bring joy and understanding to choirs across the world.
The boys, too, sense that something special is happening. They have been singing with an extra spark of joy, as if they know that their struggles have not been in vain.
Final Entry: October 15th, 1026
Word has come from Rome the Pope has received the manuscript, and there is talk of implementing the system across all church choirs. I can hardly believe it. What began as a simple effort to help my choir boys has grown into something far greater than I ever imagined. I am humbled by the thought that this work might touch so many lives. The Pope's interest is a sign that this is the right path, and I am filled with gratitude for the opportunity to serve in this way.
As I continue my daily work with the choir, I am reminded of how far we have come. The boys are thriving, their voices strong and confident.
The Micrologus is out of my hands now, and I must trust that it will find its way to those who need it most. My heart is full as I listen to the choir sing, knowing that each note, each word, is a testament to the power of love, dedication, and faith. The future of music education is bright, and I am honoured to have played a part in shaping it.
Next – Draft of …The Happy PLAYing System Triad With The Background to The X-VAKTOR
Lots of editing and design work to do - Eeeek Coming Soon –Happy PLAYing By E-AR Emoji Accessibility Revolution
Introduction: Rediscovering Guido D'Arezzo's Legacy for a New Millennium of Music Making
In 1026, Guido D'Arezzo revolutionized music pedagogy with his groundbreaking treatise, the "Micrologus." Though he lacked modern terminology, Guido's methods were deeply rooted in what we now recognize as VAK (Visual, Auditory, and Kinaesthetic) learning. His multi-sensory approach was visionary, catering to diverse learning styles and laying the foundation for what could have been an inclusive and effective music education system. However, much of Guido's pioneering work has been lost over the centuries until now.
The Lost (Now Found!) Legacy of Guido D'Arezzo
Guido's holistic approach to teaching music was inherently inclusive, designed to reach a wide range of learners, including those we might today identify as having Special Educational Needs and Disabilities (SEND). His methods resonate with what we now call a Multi-SENDsory Double Whammy Approach, addressing the needs of The SENsicians the 20% of the population with Special Educational Needs and Diversities and The UNsicians the 90% who never tried or gave up on music making due to its perceived complexity.
By rediscovering Guido's techniques, we can now empowered by the last 25 years of neuroscience and newly published social neuroscience aim for a world where 100% of individuals become WELLSicians, experiencing holistic well-being through music.
From the Last MoMMii to the Next: A Millennium of Music Making
As we transition from the last MoMMii Millennium of Music Making Innovation & Inclusivity, 1026-2026 to the next MoMMii (Millennium of Music Making Inspiration & Implementation, 2026-3026), we have the opportunity to reclaim and expand upon Guido’s lost legacy. His methods, validated by modern neuroscience, are more relevant than ever, offering solutions to current challenges in music education and well-being.
Visual: COLOUR Coding Sight Reading
Guido D'Arezzo’s innovative use of color in musical notation, such as the Red F line and Yellow C line, was an early application of visual learning. This technique, part of his VAK approach, helped students visually differentiate and memorize notes a method largely forgotten until the revival of color coding in modern tools like Noteflight and flat.io.
Hi 5 Visual Benefits:
1. Enhanced Memorization: Associating notes with specific colors aids memory, especially for visual learners.
2. Improved Sight-Reading: Beginners and those with learning difficulties can quickly recognize note positions, making sight-reading easier.
3. Inclusivity: Color coding is particularly beneficial for The SENsicians, offering an accessible way to engage with music.
4. Accelerated Learning: Visual cues help students learn and recall musical concepts faster.
5. Engagement: Colorful notation makes learning more engaging and less intimidating for young learners and The UNsicians.
Auditory: SOLFEGE Sounding and Sight Singing
Guido introduced Solfege mnemonics through the Latin chant "Ut Queant Laxis," evolving into the Do Re Mi system. This auditory technique helped students internalize musical scales through mnemonic devices, a method that remains essential for ear training and vocal development.
Hi 5 Auditory Benefits:
1. Improved Pitch Recognition: Solfege mnemonics enhance aural skills, enabling accurate pitch identification.
2. Effective Ear Training: Associating specific sounds with syllables improves musical perception.
3. Vocal Technique: Singing solfege syllables aids in developing a nuanced understanding of pitch.
4. Cultural Literacy: Learning solfege connects students to a long tradition of music education.
5. Memory Retention: Auditory learning helps embed musical scales and intervals in long-term memory, benefiting both The SENsicians and The UNsicians.
Kinaesthetic: Tactile Tonics and Whole Gamut Key Changing
Guido’s "Guidonian Hand" was a tactile method for teaching musical scales, engaging learners physically to internalize musical concepts. This kinaesthetic approach was a precursor to modern techniques like those developed by Sarah Glover, John Curwen, and Zoltán Kodály.
Hi 5 Kinaesthetic Benefits:
1. Physical Engagement: Hand signs make learning interactive and enjoyable.
2. Motor Memory: Gesture-based learning enhances retention through physical movement.
3. Group Activities: Hand signs foster collaboration, making musical learning a communal activity.
4. Enhanced Focus: Physical involvement helps maintain attention and focus during lessons.
5. Inclusive Learning: Tactile methods support learners of different physical and cognitive abilities, particularly The SENsicians.
The Top 20 Benefits of the X-VAKTOR: Multiplying the Power of Visual, Auditory, and Kinaesthetic Learning
When combined, the Visual, Auditory, and Kinaesthetic (VAK) approaches create a powerful, multi-sensory learning environment that benefits all students, particularly The SENsicians and The UNsicians. This integrated approach, known as the X-VAKTOR, amplifies the strengths of each individual method, leading to a comprehensive and engaging learning experience.
1. Multi-Sensory Learning: Engaging visual, auditory, and kinaesthetic senses together creates a comprehensive learning experience that caters to all learning styles.
2. Enhanced Memory Retention: Information is encoded through multiple sensory pathways, leading to stronger and more durable memory retention.
3. Improved Cognitive Function: The X-VAKTOR stimulates different brain areas simultaneously, enhancing overall cognitive function and promoting brain plasticity.
4. Increased Engagement and Attention: Multi-modal activities keep students more engaged and attentive, reducing distractions and fostering a deeper focus on the material.
5. Greater Inclusivity: The X-VAKTOR approach accommodates a wide range of learning styles and abilities, ensuring that all students, including The SENsicians, can participate fully in music education.
6. Holistic Learning Experience: By involving the mind, body, and emotions, the X-VAKTOR creates a balanced and holistic learning environment that addresses the needs of the whole student.
7. Enhanced Emotional Expression: The multi-sensory nature of the X-VAKTOR provides powerful tools for emotional expression, which is particularly beneficial for students who may struggle with verbal communication.
8. Improved Social Interaction: Group activities that incorporate VAK elements foster collaboration and teamwork, helping students develop essential social skills.
9. Better Motor Coordination: Kinaesthetic learning enhances motor coordination and fine motor skills, which are crucial for playing musical instruments.
10. Strengthened Neural Connections: Neuroscience supports that multi-sensory learning strengthens neural pathways, making the learning process more efficient and effective.
11. Customized Learning Paths: The X-VAKTOR allows for highly individualized learning experiences, catering to the unique needs and strengths of each student.
12. Boosted Confidence: Students who struggle with one modality can excel in another, leading to increased confidence in their musical abilities and overall learning capacity.
13. Rapid Skill Acquisition: Engaging multiple senses accelerates the process of learning new skills, making complex concepts more accessible and easier to master.
14. Encouraged Creativity: The diverse nature of the X-VAKTOR encourages creative thinking and problem-solving, key skills in both music and life.
15. Reduced Learning Fatigue: Switching between visual, auditory, and kinaesthetic activities keeps the brain refreshed and reduces the mental fatigue that can come from focusing on a single modality.
16. Enhanced Motivation: The variety in activities provided by the X-VAKTOR approach keeps students motivated to continue learning, helping to transform The UNsicians into engaged WELLSicians.
17. Facilitated Mastery of Complex Concepts: Complex musical concepts become more accessible when taught through multiple modalities, making it easier for students to grasp and retain difficult ideas.
18. Improved Self-Regulation: Engaging multiple senses helps students develop better self-regulation skills, which are particularly important for The SENsicians who may struggle with attention and focus.
19. Amplified Learning Speed: The X-VAKTOR allows students to learn at a faster pace by engaging different parts of the brain simultaneously, maximizing their learning potential.
20. Long-Term Retention and Application: The X-VAKTOR ensures that the knowledge and skills students gain are not only retained but can be applied in real-world scenarios, leading to lifelong learning and music making well-being.
The X-VAKTOR: Neuroscience Meets Education
Recent advances in neuroscience support the X-VAKTOR approach, showing that multi-sensory learning enhances brain plasticity and strengthens neural pathways. This not only makes learning more effective but also contributes to overall cognitive health and well-being, paving the way for a world where everyone has the potential to become a WELLSician
The Top 20 Benefits of the X-VAKTOR: Multiplying the Power of Visual, Auditory, and Kinaesthetic Learning
Conclusion: A Vision for the Future A Mission for Now A Passion for Music Making Well-Beings Forever!
"The Lost Legacy of Guido D'Arezzo" is more than just a historical exploration; it is a call to action. By reviving and expanding upon Guido's innovative methods and integrating them with the latest neuroscience, we can bridge the "Chasm of Creativity" between music making, education, health, and wellness. This approach has the potential to unlock a $4 billion economic opportunity (represented by the "o" in WELLSician.io) and create a $1 trillion impact on global health and wellness (represented by the "i" in WELLSician.io). Together, we can build a world of WELLSicians individuals who achieve holistic well-being through music.
Part 2: The Top 20 X Multiplication Factor in The X-VAKTOR!
Introduction: The Case for a Multi-Sensory, X-VAKTOR Approach in Music Pedagogy
As we move into the next millennium of music education, it is essential to build on the legacy of Guido D'Arezzo by embracing a multi-sensory approach that integrates Visual, Auditory, and Kinaesthetic (VAK) learning modalities. This approach represents the multiplication of these sensory elements to create a holistic and inclusive music education experience. The VAK approach we can now further enhanced by making this into ‘The X-VAKTOR!’. How? By incorporating what we call TOR1- Tonic Oriented Roots, based on Krumhansl’s Tonal Hierarchy theory and TOR2 Time Oriented Rhythm, a new version of time-based systems like Dalcroze and Takadimi which also recognizing the importance of rhythm and movement in well-being.
Together, all these components offer a powerful framework for addressing the needs of The SENsicians (the 20% with Special Educational Needs and Diversities), The UNsicians (the 90% who have not engaged with music due to its perceived difficulty), and the ultimate goal of creating WELLSicians a world where 100% of individuals achieve well-being through music.
The
Academic and Research Foundations of the X-VAKTOR Approach
The X-VAKTOR approach is supported by a robust body of academic research, providing a clear and evidence-based argument for why this multi-sensory method is critical for the future of music education. By integrating VAK modalities with TOR1 and TOR2, we create an enriched learning environment that is not only inclusive but also deeply effective in reaching a wide range of learners.
The Top 20 X-VAKTOR Benefits: A Comprehensive Integration of VAK, TOR1, and TOR2
When Visual, Auditory, and Kinaesthetic learning modalities are integrated with the TOR1 (Tone Oriented Roots) and TOR2 (Time Oriented Rhythm) elements, the result is a powerful, multi-sensory educational experience. Here are the Top 20 Benefits of the X-VAKTOR approach, based on academic research and practical outcomes:
1. Multi-Sensory Engagement - The X-VAKTOR approach ensures that learning is processed through multiple sensory channels, which significantly enhances the brain's ability to encode and retrieve information. Research indicates that multi-sensory learning not only improves comprehension but also fosters a deeper connection to the material, making it more meaningful and memorable (Shams & Seitz, 2008).
Key References:- Shams, L., & Seitz, A. R. (2008). Benefits of multisensory learning. _Trends in Cognitive Sciences, 12_(11), 411-417.
2. Enhanced Neural Plasticity - The integration of VAK modalities with TOR1 and TOR2 enhances neural plasticity, the brain's ability to reorganize itself by forming new neural connections. This is particularly important for young learners and those with learning difficulties, as it enables the brain to adapt and improve its functions in response to new challenges (Pascual-Leone et al., 2005).
Key References:- Pascual-Leone, A., Amedi, A., Fregni, F., & Merabet, L. B. (2005). The plastic human brain cortex. _Annual Review of Neuroscience, 28_, 377-401.
3. Improved Pitch Discrimination -Auditory learning, especially when enhanced with TOR1 (Tone Oriented Roots), improves the ability to discern pitch and tonal relationships. Carol Krumhansl's work on tonal hierarchies demonstrates how understanding tonal centers and their related harmonics is fundamental to music perception (Krumhansl, 1990). This skill is crucial for both performance and composition, allowing learners to develop a more refined musical ear.
Key References:- Krumhansl, C. L. (1990). _Cognitive Foundations of Musical Pitch_. Oxford University Press.
4. Greater Memory Retention -Encoding information through multiple sensory pathways leads to better memory retention and recall. Studies show that when learners engage with material using more than one sense, their ability to remember and apply that information increases significantly (Mayer, 2009). The X-VAKTOR approach leverages this by combining visual, auditory, and kinaesthetic inputs to reinforce learning.
Key References: - Mayer, R. E. (2009). _Multimedia Learning_. Cambridge University Press.
5. Increased Focus and Attention -The X-VAKTOR approach helps maintain student engagement by continuously stimulating different sensory modalities, which reduces the likelihood of distraction and keeps students focused on the material. This is particularly beneficial for The UNsicians, who may struggle with traditional, single-modality learning methods (Posner & Petersen, 1990).
Key References:- Posner, M. I., & Petersen, S. E. (1990). The attention system of the human brain. _Annual Review of Neuroscience, 13_, 25-42.
6. Holistic Emotional Development -Incorporating TOR2 (Time Oriented Rhythm) into the X-VAKTOR approach enhances emotional regulation and expression through movement and rhythm. Research shows that rhythmic activities, such as dancing or clapping, can have profound effects on emotional well-being by reducing stress and promoting a sense of connectedness and joy (Thaut et al., 2007).
Key References:- Thaut, M. H., Kenyon, G. P., Schauer, M. L., & McIntosh, G. C. (2007). The connection between rhythmicity and brain function. _Music Perception, 25_(1), 13-22.
7. Stronger Motor Skills -Kinaesthetic learning, particularly when integrated with rhythm and timing exercises (TOR2), enhances motor coordination and fine motor skills. This is essential for playing instruments, where precise hand movements and timing are critical. Research has shown that movement-based learning can improve motor skills and overall physical coordination, which are vital for musicians (Schlaug et al., 2005).
Key References:- Schlaug, G., Marchina, S., & Norton, A. (2005). From singing to speaking: Why singing may lead to recovery of expressive language function in patients with Broca’s aphasia. _Music Perception, 25_(4), 315-323.
8. Better Social Interaction -Group activities that incorporate VAK and TOR elements foster collaboration and teamwork. These activities help students develop essential social skills, such as communication, empathy, and cooperation, which are crucial for successful group performances and ensembles. Research supports that social learning environments enhance both cognitive and emotional development (Vygotsky, 1978).
Key References:- Vygotsky, L. S. (1978). _Mind in Society: The Development of Higher Psychological Processes_. Harvard University Press.
9. Improved Cultural Understanding -The X-VAKTOR approach, with its integration of tonal hierarchies (TOR1) and rhythm (TOR2), exposes students to a wide range of musical traditions and cultural contexts. This broadens their cultural awareness and appreciation, fostering a more inclusive understanding of global music traditions. Research suggests that exposure to diverse musical cultures enhances cognitive flexibility and cultural competence (Levitin, 2006).
Key References:- Levitin, D. J. (2006). _This Is Your Brain on Music: The Science of a Human Obsession_. Dutton.
10. Customization and Personalization
The X-VAKTOR approach allows for highly personalized learning experiences by adapting to individual strengths and areas for improvement. This flexibility is crucial for meeting the diverse needs of The SENsicians and The UNsicians, ensuring that each student can progress at their own pace and in their own style (Tomlinson, 2001).