Before the invention of the staff, any country and any nation in the world used words to express sounds, or used simple symbols to express the rise and fall of sounds. In vocal music, the lyrics are the center, and simple symbols are marked beside or above the words. At first, the notation of Gregory's songs borrowed from the notation of "Neum" in ancient Greece to mark the rhythm of melody. This primitive notation with "dots and lines" as symbols certainly made the priests of the church extremely dissatisfied. It can't record accurate intervals, but can only roughly express the movement trend of melody. Singers have to use gestures to express a little meaning, and more accurate singing depends on ear analysis and soul understanding. There is nothing anyone can do when he meets a song that even the singer is not familiar with. Later, an unknown priest whimsically drew a line on the spectrum to represent a fixed sound. This great pioneering work soon inspired another clever priest, who drew a second line on the spectrum-it can be clearly recognized from the "second-line spectrum" page born at the end of the 9th century that the bottom line is yellow, representing the do sound (marked with ut at that time), and the top line is red. Then Hooke Bald (840-930), a monk of St. Amand Abbey, felt the magic of "line" and simply drew six or eight lines on the spectrum to indicate the level of sound. Obviously, one or two lines are not enough, and six to eight lines are too complicated, so Guido (995- 1050), a famous French music theorist, once again used the "four-line score". He recorded the names of sounds online and between lines, and created notes to express the names, making it possible to record the scores of polyphonic music, which became the notation of "quantifying music". This notation invented by Guido was updated in the14th century, and finally became a staff with black marks in the15th century. The internal beat marks were also constantly improved, and it was not until the 18th century that it was finally finalized into the staff we see today.
Guido also invented six fixed volumes when he wrote Ode to St. John, and the order was ut, re, mi, fa, sol and la. /kloc-In the 6th century, the Belgian Willant "added the seventh sound si". Later, due to the problem of convenient pronunciation, ut was changed to do, which became the name of the seven-tone scale seen by later generations. It is said that the music score used in the church ceremony of the Roman Catholic Church still uses Guido's "four-line music score" and the square Neum symbol. This shows the great significance of Guido's "four-line score" and its important position as a "saint" in the history of western music.