The Evolution of Musical Note Names: From Ut Re Mi to Do Re Mi

In the rich history of music, the names of musical notes have played a crucial role in the development and understanding of music theory. From the original 'Ut Re Mi' of medieval times to the familiar 'Do Re Mi' of today, the evolution of these names reflects the changing needs and practices of music educators and theorists over the centuries.

The Origin of 'Ut Re Mi'

The history of the names for the musical notes can be traced back to the 10th century, specifically to the hymn 'Ut queant laxis' attributed to Guido d'Arezzo, a Benedictine monk and music teacher born around 991 AD. The names 'Ut, Re, Mi, Fa, Sol, La' derived from the first syllables of the lines:

Ut queant laxis
resonare fibris
Mira gestorum
famuli tuorum
Solve polluti
labii reatum
Sancte Iohannes

The etymology of each note name:

Ut - from 'Ut queant laxis' Re - from 'resonare fibris' Mi - from 'Mira gestorum' Fa - from 'famuli tuorum' Sol - from 'Solve polluti' La - from 'labii reatum' Sii - derived from 'Sancte Iohannes'

The Proposals for Change

The names 'Ut, Re, Mi, Fa, Sol, La, and Sii' were used for centuries, but as musical knowledge expanded, certain challenges emerged. In 1640, Giovanni Battista Doni, an Italian music theorist from Florence, suggested changing 'Ut' to 'Do' for several reasons:

Ease of Singing: 'Do' is phonetically easier to sing than 'Ut', particularly for beginners. Personal Association: 'Do' is the first syllable of his surname, a nod to personal accountability and a unique twist to the existing system.

Doni's proposal laid the foundation for the modern naming system, though 'Ud' was the original form, later evolving to 'Do'.

The Addition of 'Si'

By the 16th century, it was recognized that a seventh note was needed for the rising scale starting from 'Do.' Therefore, 'Sii' (from 'Sancte Iohannes') was simplified to 'Si.' This addition further enriched the musical scale and allowed for more complex harmonic structures.

Modern Changes and Simplifications

The final change in the note names came in the 19th century with Sarah Anna Glover, a 19th-century music teacher. She proposed changing 'Si' to 'Te,' which later became 'Ti.' This change aimed at making the naming system more phonetic and easier to remember. The result is the widely recognized sequence 'Do Re Mi Fa Sol La Ti Do,' forming the iconic 'Do Re Mi' sequence from the opening of the musical 'The Sound of Music.'

The evolution of musical note names reflects the ongoing innovation and adaptation in music education and theory. From the ancient hymn 'Ut queant laxis' to the contemporary 'Do Re Mi,' music notations have served as a bridge between past and present, ensuring that the love and study of music continue to thrive.

Conclusion

The journey of musical note names is a testament to the dynamic nature of music and its practice. As musical theory and education advanced, the names of notes evolved, each step building on the previous one, creating a cohesive system that has stood the test of time.