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Locrian Mode
The Locrian mode is the seventh mode of the major scale. It is either a musical mode or simply a diatonic scale. On the piano, it is the scale that starts with B and only uses the white keys from there. Its ascending form consists of the key note, then: half step, whole step, whole step, half step, whole step, whole step, whole step. :: History ''Locrian'' is the word used to describe the inhabitants of the ancient Greek regions of Locris. Although the term occurs in several classical authors on music theory, including Cleonides (as an octave species) and Athenaeus (as an obsolete ''harmonia''), there is no warrant for the modern usage of Locrian as equivalent to Glarean's Hyperaeolian mode, in either classical, Renaissance, or later phases of modal theory through the 18th century, or modern scholarship on ancient Greek musical theory and practice. The name first came to be applied to modal chant theory after the 18th century, when it was used to describe the mode newly-numbe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mode (music)
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. ( Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Triad
In music theory, a diminished triad (also known as the minor flatted fifth) is a triad consisting of two minor thirds above the root. It is a minor triad with a lowered ( flattened) fifth. When using chord symbols, it may be indicated by the symbols "dim", "", "m5", or "MI(5)". However, in most popular-music chord books, the symbol "dim" and "" represents a diminished seventh chord (a four-tone chord), which in some modern jazz books and music theory books is represented by the "dim7" or "7" symbols. For example, the diminished triad built on C, written as C, has pitches C–E–G: : The chord can be represented by the integer notation . In the common practice period, the diminished triad is considered dissonant because of the diminished fifth (or tritone). Harmonic function In major scales, a diminished triad occurs only on the seventh scale degree. For instance, in the key of C, this is a B diminished triad (B, D, F). Since the triad is built on the seventh scale de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sergei Rachmaninoff
Sergei Vasilyevich Rachmaninoff; in Russian pre-revolutionary script. (28 March 1943) was a Russian composer, virtuoso pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom notable for its song-like melodicism, expressiveness and rich orchestral colours. The piano is featured prominently in Rachmaninoff's compositional output and he made a point of using his skills as a performer to fully explore the expressive and technical possibilities of the instrument. Born into a musical family, Rachmaninoff took up the piano at the age of four. He studied with Anton Arensky and Sergei Taneyev at the Moscow Conservatory and graduated in 1892, having already composed several piano and orchestral pieces. In 1897, following the d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pierre De La Rue
Pierre de la Rue ( – 20 November 1518) was a Franco-Flemish composer and singer of the Renaissance. His name also appears as Piersson or variants of Pierchon and his toponymic, when present, as various forms of de Platea, de Robore, or de Vico. A member of the same generation as Josquin des Prez, and a long associate of the Habsburg- Burgundian musical chapel, he ranks with Agricola, Brumel, Compère, Isaac, Obrecht, and Weerbeke as one of the most famous and influential composers in the Netherlands polyphonic style in the decades around 1500. Biography Early life La Rue was probably born at Tournai, in modern Belgium, and likely educated at the Notre-Dame Cathedral there, which had a substantial musical establishment. He may have been the son of Jean de la Rue, a master ''enlumineur'' of the town of Tournai. While no records remain of his childhood, a Peter vander Straten (the Flemish equivalent of his name) is mentioned in the archives of the cathedral of Ste. Gudule in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thomas J
Clarence Thomas (born June 23, 1948) is an American jurist who serves as an associate justice of the Supreme Court of the United States. He was nominated by President George H. W. Bush to succeed Thurgood Marshall and has served since 1991. After Marshall, Thomas is the second African American to serve on the Court and its longest-serving member since Anthony Kennedy's retirement in 2018. Thomas was born in Pin Point, Georgia. After his father abandoned the family, he was raised by his grandfather in a poor Gullah community near Savannah. Growing up as a devout Catholic, Thomas originally intended to be a priest in the Catholic Church but was frustrated over the church's insufficient attempts to combat racism. He abandoned his aspiration of becoming a clergyman to attend the College of the Holy Cross and, later, Yale Law School, where he was influenced by a number of conservative authors, notably Thomas Sowell, who dramatically shifted his worldview from progressive to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aeolian Mode
The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the white piano keys, it is the scale that starts with A. Its ascending interval form consists of a ''key note, whole step, half step, whole step, whole step, half step, whole step, whole step.'' That means that, in A aeolian (or A minor), you would play A, move up a whole step (two piano keys) to B, move up a half step (one piano key) to C, then up a whole step to D, a whole step to E, a half step to F, a whole step to G, and a final whole step to a high A. : History The word ''Aeolian'', like the names for the other ancient Greek ''tonoi'' and ''harmoniai'', is an ethnic designation: in this case, for the inhabitants of Aeolis (Αἰολίς)—the Aeolian Islands and adjacent coastal district of Asia Minor. In the music theory of ancient Greece, it was an alternative name (used by some later writers, such as Cleonides) for what Aristoxenus called the Low Lydian '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hypodorian Mode
The Hypodorian mode, a musical term literally meaning 'below Dorian', derives its name from a ''tonos'' or octave species of ancient Greece which, in its diatonic genus, is built from a tetrachord consisting (in rising direction) of a semitone followed by two whole tones. The rising scale for the octave is a single tone followed by two conjoint tetrachords of this type. This is roughly the same as playing all the white notes of a piano from A to A: A , B C D E , (E) F G A. Although this scale in medieval theory was employed in Dorian and Hypodorian, from the mid-sixteenth century and in modern music theory they came to be known as the Aeolian and Hypoaeolian modes. The term Hypodorian came to be used to describe the second mode of Western church music. This mode is the plagal counterpart of the authentic first mode, which was also called ''Dorian''. The ecclesiastical Hypodorian mode was defined in two ways: (1) as the diatonic octave species from A to A, divided at the mod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mixolydian Mode
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek ''harmoniai'' or ''tonoi'', based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode. (The Hypomixolydian mode of medieval music, by contrast, has no modern counterpart.) The modern diatonic mode is the scale forming the basis of both the rising and falling forms of Harikambhoji in Carnatic music, the classical music form of southern India. Greek Mixolydian The idea of a Mixolydian mode comes from the music theory of ancient Greece. The invention of the ancient Greek Mixolydian mode was attributed to Sappho, the poet and musician. However, what the ancient Greeks thought of as Mixolydian is very different from the modern interpretation of the mode. The prefix ''mixo''- (μιξο-) means "half", referring to its resemblance to the Lydian mode. In Greek theory, the Mixolydian ''tonos'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Ancient Greece
Music was almost universally present in ancient Greek society, from marriages, funerals, and religious ceremonies to theatre, folk music, and the ballad-like reciting of epic poetry. It thus played an integral role in the lives of ancient Greeks. There are some fragments of actual Greek musical notation, many literary references, depictions on ceramics and relevant archaeological remains, such that some things can be known—or reasonably surmised—about what the music sounded like, the general role of music in society, the economics of music, the importance of a professional caste of musicians, etc. The word ''music'' comes from the Muses, the daughters of Zeus and patron goddesses of creative and intellectual endeavours. Concerning the origin of music and musical instruments: the history of music in ancient Greece is so closely interwoven with Greek mythology and legend that it is often difficult to surmise what is historically true and what is myth. The music and music the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root (chord)
In music theory, the concept of root is the idea that a chord (music), chord can be represented and named by one of its Musical note, notes. It is linked to Harmony (music), harmonic thinking—the idea that vertical aggregates of notes can form a single unit, a chord. It is in this sense that one speaks of a "C chord" or a "chord on C"—a chord built from C and of which the note (or pitch) C is the root. When a chord is referred to in Classical music or popular music without a reference to what type of chord it is (either major or minor, in most cases), it is assumed a major triad, which for C contains the notes C, E and G. The root need not be the bass note, the lowest note of the chord: the concept of root is linked to that of the Inverted chord, inversion of chords, which is derived from the notion of Invertible Counterpoint, invertible counterpoint. In this concept, chords can be inverted while still retaining their root. In tertian harmonic theory, wherein chords can be con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consonance And Dissonance
In music, consonance and dissonance are categorizations of simultaneous or successive Sound, sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. In casual discourse, as German composer and music theorist Paul Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied". The term ''sonance'' has been proposed to encompass or refer indistinctly to the terms ''consonance'' and ''dissonance' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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