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Musical Mode
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 o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ionian Mode
Ionian mode is a musical mode or, in modern usage, a diatonic scale also called the major scale. It is the name assigned by Heinrich Glarean in 1547 to his new authentic mode on C (mode 11 in his numbering scheme), which uses the diatonic octave species from C to the C an octave higher, divided at G (as its dominant, reciting tone/reciting note or ''tenor'') into a fourth species of perfect fifth (tone–tone–semitone–tone) plus a third species of perfect fourth (tone–tone–semitone): C D E F G + G A B C. This octave species is essentially the same as the major mode of tonal music. Church music had been explained by theorists as being organised in eight musical modes: the scales on D, E, F, and G in the "greater perfect system" of "musica recta," each with their authentic and plagal counterparts. Glarean's twelfth mode was the plagal version of the Ionian mode, called Hypoionian (under Ionian), based on the same relative scale, but with the major third as its ''tenor' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Notre-Dame School
The Notre-Dame school or the Notre-Dame school of polyphony refers to the group of composers working at or near the Notre-Dame Cathedral in Paris from about 1160 to 1250, along with the music they produced. The only composers whose names have come down to us from this time are Léonin and Pérotin. Both were mentioned by an anonymous English student, known as Anonymous IV, who was either working or studying at Notre-Dame later in the 13th century. In addition to naming the two composers as "the best composers of organum," and specifying that they compiled the big book of organum known as the ''Magnus Liber Organi'', he provides a few tantalizing bits of information on the music and the principles involved in its composition. Pérotin is the first composer of ''organum quadruplum''—four-voice polyphony—at least the first composer whose music has survived, since complete survivals of notated music from this time are scarce. Léonin, Pérotin and the other anonymous composer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Common Practice (music)
In European art music, the common-practice period is the era of the tonal system. Most of its features persisted from the mid-Baroque period through the Classical and Romantic periods, roughly from 1650 to 1900. There was much stylistic evolution during these centuries, with patterns and conventions flourishing and then declining, such as the sonata form. The most prominent, unifying feature throughout the period is a harmonic language to which music theorists can today apply Roman numeral chord analysis. Technical features Harmony The harmonic language of this period is known as "common-practice tonality", or sometimes the "tonal system" (though whether tonality implies common-practice idioms is a question of debate). Common-practice tonality represents a union between harmonic function and counterpoint. In other words, individual melodic lines, when taken together, express harmonic unity and goal-oriented progression. In tonal music, each tone in the diatonic scale function ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Persians
The Persians are an Iranian ethnic group who comprise over half of the population of Iran. They share a common cultural system and are native speakers of the Persian language as well as of the languages that are closely related to Persian. The ancient Persians were originally an ancient Iranian people who had migrated to the region of Persis (corresponding to the modern-day Iranian province of Fars) by the 9th century BCE. Together with their compatriot allies, they established and ruled some of the world's most powerful empires that are well-recognized for their massive cultural, political, and social influence, which covered much of the territory and population of the ancient world.. Throughout history, the Persian people have contributed greatly to art and science. Persian literature is one of the world's most prominent literary traditions. In contemporary terminology, people from Afghanistan, Tajikistan, and Uzbekistan who natively speak the Persian language are know ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Jones (philologist)
Sir William Jones (28 September 1746 – 27 April 1794) was a British philologist, a puisne judge on the Supreme Court of Judicature at Fort William in Bengal, and a scholar of ancient India. He is particularly known for his proposition of the existence of a relationship among European and Indo-Aryan languages, which later came to be known as the Indo-European languages. Jones is also credited for establishing the Asiatic Society of Bengal in 1784. Early life William Jones was born in London; his father William Jones (1675–1749) was a mathematician from Anglesey in Wales, noted for introducing the use of the symbol π. The young William Jones was a linguistic prodigy, who in addition to his native languages English and Welsh, learned Greek, Latin, Persian, Arabic, Hebrew and the basics of Chinese writing at an early age. By the end of his life he knew eight languages with critical thoroughness, was fluent in a further eight, with a dictionary at hand, and had a fair c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harold Powers
Harold Stone Powers (August 5, 1928 – March 15, 2007) was an American musicologist, ethnomusicologist, and music theorist. Career Born in New York City on August 5, 1928, he earned his B.Mus. in piano from Syracuse University in 1950 and an MFA in composition and musicology from Princeton University in 1952. As a Fulbright Fellow, he studied Indian music in Madras for two years before continuing at Princeton where he received a Ph.D. in musicology. His dissertation was on “The Background of the South Indian Raga System.” Powers taught at Harvard University from 1958 to 1960 and at the University of Pennsylvania from 1961 to 1973 before returning to Princeton where he was named the Scheide Professor of Music History in 1995 and in 2001 assumed Emeritus status. Powers returned to India several times to study music there on John D. Rockefeller III and Fulbright Senior fellowships. Powers was known for intensive study of both Renaissance music and music theory and several ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pathet
Pathet ( jv, ꦥꦛꦼꦠ꧀, translit=Pathet, also patet) is an organizing concept in central Javanese gamelan music in Indonesia. It is a system of tonal hierarchies in which some notes are emphasized more than others. The word means '"to damp, or to restrain from" in Javanese. ''Pathet'' is "a limitation on the player's choice of variation, so that while in one ''pathet'' a certain note may be prominent, in another it must be avoided, or used only for special effect. Awareness of such limitations, and exploration of variation within them reflects a basic philosophical aim of gamelan music, and indeed all art in central Java, namely, the restraint and refinement of one's own behaviour." Javanese often give poetic explanations of pathet, such as "Pathet is the couch or bed of a melody." In essence, a pathet indicates which notes are stressed in the melody, especially at the end of phrases (seleh), as well as determines which elaborations (cengkok and sekaran) are appropriate. I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arabic Maqam
Arabic maqam ( ar, مقام, maqām, literally "rank"; ') is the system of melodic modes used in traditional Arabic music, which is mainly melodic. The word ''maqam'' in Arabic means place, location or position. The Arabic ''maqam'' is a melody type. It is "a technique of improvisation" that defines the pitches, patterns, and development of a piece of music and is "unique to Arabian art music". There are 72 heptatonic tone rows or scales of maqamat. These are constructed from major, neutral, and minor seconds. Each ''maqam'' is built on a scale, and carries a tradition that defines its habitual phrases, important notes, melodic development and modulation. Both compositions and improvisations in traditional Arabic music are based on the ''maqam'' system. ''Maqamat'' can be realized with either vocal or instrumental music, and do not include a rhythmic component. An essential factor in performance is that each maqam describes the "tonal-spatial factor" or set of musical n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octoechos
Oktōēchos (here transcribed "Octoechos"; Greek: ;The feminine form exists as well, but means the book octoechos. from ὀκτώ "eight" and ἦχος "sound, mode" called echos; Slavonic: Осмогласие, ''Osmoglasie'' from о́смь "eight" and гласъ, Glagolitic: , "voice, sound") is the eight-mode system used for the composition of religious chant in Byzantine, Syriac, Armenian, Georgian, Latin and Slavic churches since the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic chant in the Byzantine Rite today. Nomenclature The names ascribed to the eight tones differ in translations into Church Slavonic. The Slavonic system counted the plagioi echoi as glasa 5, 6, 7, and 8. For reference, these differences are shown here together with the Ancient Greek names of the octave species according to the Hagiopolites (see Hagiopolitan Octoechos) and to the chant treatises and tonaries of Carolingian theorist ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Western Classical Music
Classical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" also applies to non-Western art music. Classical music is often characterized by formality and complexity in its musical form and harmonic organization, particularly with the use of polyphony. Since at least the ninth century it has been primarily a written tradition, spawning a sophisticated notational system, as well as accompanying literature in analytical, critical, historiographical, musicological and philosophical practices. A foundational component of Western Culture, classical music is frequently seen from the perspective of individual or groups of composers, whose compositions, personalities and beliefs have fundamentally shaped its history. Rooted in the patronage of churches and royal courts in Western Europe, surviving earl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
