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Ninth 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 Ly ... [...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] |
Heinrich Glarean
Heinrich Glarean also styled Glareanus (born as Heinrich Loriti on 28 February or 3 June 1488 – 28 March 1563) was a Swiss music theorist, poet and humanist. He was born in Mollis (in the canton of Glarus, hence his name) and died in Freiburg im Breisgau. Biography Glarean was born as Heinrich Loriti in Mollis in Canton Glarus to a politician. As a boy, he took care of cattle and received a good education. After a thorough early training in music, Glarean enrolled in the University of Cologne, where he studied theology, philosophy, and mathematics as well as music. It was there that he wrote a famous poem as a tribute to Emperor Maximilian I. Shortly afterwards, in Basle, he met Erasmus and the two humanists became lifelong friends. Glarean's first publication on music, a modest volume entitled ''Isagoge in musicen'', was in 1516. In it he discusses the basic elements of music; probably it was used for teaching. But his most famous book, and one of the most famous and influentia ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Reciting Tone
In chant, a reciting tone (also called a recitation tone) can refer to either a repeated musical pitch or to the entire melodic formula for which that pitch is a structural note. In Gregorian chant, the first is also called tenor, dominant or tuba, while the second includes psalm tones (each with its own associated Gregorian mode) as well as simpler formulae for other readings and for prayers. Reciting tones in Gregorian chant Regular psalm tones Reciting tones occur in several parts of the Roman Rite. These include the accentus prayers and lessons chanted by the deacons or priests such as the Collect, Epistle, Gospel, Secret, Preface, Canon, and Postcommunion, as well as such regular texts as the Pater noster, Te Deum, and the Gloria in excelsis Deo. They are also sung in versicles and responds such as the ''Dominus vobiscum'' ("The Lord be with you") of the officiant followed by the ''Et cum spiritu tuo'' ("and with your spirit") of the choir. Some tones, presumably from the ear ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Fifth
In music theory, a perfect fifth is the Interval (music), musical interval corresponding to a pair of pitch (music), pitches with a frequency ratio of 3:2, or very nearly so. In classical music from Western culture, a fifth is the interval from the first to the last of five consecutive Musical note, notes in a diatonic scale. The perfect fifth (often abbreviated P5) spans seven semitones, while the Tritone, diminished fifth spans six and the augmented fifth spans eight semitones. For example, the interval from C to G is a perfect fifth, as the note G lies seven semitones above C. The perfect fifth may be derived from the Harmonic series (music), harmonic series as the interval between the second and third harmonics. In a diatonic scale, the dominant (music), dominant note is a perfect fifth above the tonic (music), tonic note. The perfect fifth is more consonance and dissonance, consonant, or stable, than any other interval except the unison and the octave. It occurs above the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dorian Mode
Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek ''harmoniai'' (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself. : Greek Dorian mode The Dorian mode (properly ''harmonia'' or ''tonos'') is named after the Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the ''hypate meson'' to the ''nete diezeugmenon''. In the enharmonic genus, the intervals in each tetrachord are quarter tone–quarter tone–major third. : In the chromatic genus, they are semitone–semitone–minor third. : In the diatonic genus, they are semitone–tone–tone. : In the diatonic genus, the sequence over the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pietro Aaron
Pietro Aron, also known as Pietro (or Piero) Aaron (c. 1480 – after 1545), was an Italian music theorist and composer. He was born in Florence and probably died in Bergamo (other sources state Florence or Venice). Biography Very little is known about Aron's early life but at least one source claims he may have been Jewish. He was educated in Italy. Aron was a self-taught musician. He claimed in his ''Toscanello in musica'' (1523) that he had been friends with Obrecht, Josquin, and Heinrich Isaac in Florence. If true, the time frame would have been most likely in 1487. Between 1515 and 1522, he was Church Cantor at the Cathedral of Imola. In 1516 he became a priest there. In February 1523 Aron went to Venice and became cantor of Rimini Cathedral, where he worked for Sebastiano Michiel, who was Grand Prior of the Knights of St. John of Jerusalem. In 1525, he was "maestro di casa" in a Venetian house. In 1536, after the death of Michiel, he joined a monastery in Bergamo where ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guido D'Arezzo
Guido of Arezzo ( it, Guido d'Arezzo; – after 1033) was an Italian music theorist and pedagogue of High medieval music. A Benedictine monk, he is regarded as the inventor—or by some, developer—of the modern staff notation that had a massive influence on the development of Western musical notation and practice. Perhaps the most significant European writer on music between Boethius and Johannes Tinctoris, after the former's ''De institutione musica'', Guido's ''Micrologus'' was most widely distributed medieval treatise on music. Biographical information on Guido is only available from two contemporary documents; though they give limited background, a basic understanding of his life can be unraveled. By around 1013 he began teaching at Pomposa Abbey, but his antiphonary ''Prologus in antiphonarium'' and novel teaching methods based on staff notation brought considerable resentment from his colleagues. He thus moved to Arezzo in 1025 and under the patronage of Bishop Tedal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hucbald
Hucbald ( – 20 June 930; also Hucbaldus or Hubaldus) was a Benedictine monk active as a music theorist, poet, composer, teacher, and hagiographer. He was long associated with Saint-Amand Abbey, so is often known as Hucbald of St Amand. Deeply influenced by Boethius' '' De Institutione Musica'', Hucbald's (''De'') ''Musica'', formerly known as ''De harmonica institutione'', aims to reconcile ancient Greek music theory and the contemporary practice of Gregorian chant with the use of many notated examples. Among the leading music theorists of the Carolingian era, he was likely a near contemporary of Aurelian of Réôme, the unknown author of the ''Musica enchiriadis'', and the anonymous authors of other music theory texts ''Commemoratio brevis'', ''Alia musica'', and ''De modis''. Life Born in northern France, about 840 or 850, Hucbald studied at Elnone Abbey (later named Saint-Amand Abbey, after its 7th-century founder) where his uncle Milo was chief master of studies (''scholast ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diatonic
Diatonic and chromatic are terms in music theory that are most often used to characterize Scale (music), scales, and are also applied to musical instruments, Interval (music), intervals, Chord (music), chords, Musical note, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the Common practice period, common practice music of the period 1600–1900. These terms may mean different things in different contexts. Very often, ''diatonic'' refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B. In some usages it includes all forms of heptatonic scale that are in common use in Western music (the major, and all forms of the minor). ''Chromatic'' most often refers to structures derived from the twelve-note chromatic scale, which consists of all semitones. Historically, however, it had other senses, referring in Ancient Greek music theory to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Henricus Petrus
Henricus Petrus (1508–1579) and his son Sebastian Henric Petri (1546, Basel – 1627, Basel) headed the printer shop of Basel (''Basilea'' in Latin), called ''Officina Henricpetrina''. Among their best known works, both of 1566, the second edition of ''De revolutionibus orbium coelestium'' by Nicolaus Copernicus, first published in 1543 in Nuremberg by Johannes Petreius, and of ''Narratio Prima'' by Georg Joachim Rheticus, published in 1540 in Danzig (Gdańsk) by Franz Rhode. Works *Liber pantegni, Opera omnia ysaac. Ed. Andreas Turinus. Lugduni 1515; Constantini opera. Apud Henricus Petrus. Basileae 1536/39. *The '' Cosmographia by Sebastian Münster (1488–1552) from 1544 was the earliest German description of the world. *Daniel Santbech Daniel Santbech (fl. 1561) was a Dutch mathematician and astronomer. He adopted the Latinized name of Noviomagus, possibly suggesting that he came from the town of Nijmegen, called ''Ulpia Noviomagus Batavorum'' by the Romans. I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plagal Mode
A Gregorian mode (or church mode) is one of the eight systems of pitch organization used in Gregorian chant. History The name of Pope Gregory I was attached to the variety of chant that was to become the dominant variety in medieval western and central Europe (the diocese of Milan was the sole significant exception) by the Frankish cantors reworking Roman ecclesiastical song during the Carolingian period. The theoretical framework of modes arose later to describe the tonal structure of this chant repertory, and is not necessarily applicable to the other European chant dialects ( Old Roman, Mozarabic, Ambrosian, etc.). The repertory of Western plainchant acquired its basic forms between the sixth and early ninth centuries, but there are neither theoretical sources nor notated music from this period. By the late eighth century, a system of eight modal categories, for which there was no precedent in Ancient Greek theory, came to be associated with the repertory of Gregorian chant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Authentic Mode
A Gregorian mode (or church mode) is one of the eight systems of pitch organization used in Gregorian chant. History The name of Pope Gregory I was attached to the variety of chant that was to become the dominant variety in medieval western and central Europe (the diocese of Milan was the sole significant exception) by the Frankish cantors reworking Roman ecclesiastical song during the Carolingian period. The theoretical framework of modes arose later to describe the tonal structure of this chant repertory, and is not necessarily applicable to the other European chant dialects ( Old Roman, Mozarabic, Ambrosian, etc.). The repertory of Western plainchant acquired its basic forms between the sixth and early ninth centuries, but there are neither theoretical sources nor notated music from this period. By the late eighth century, a system of eight modal categories, for which there was no precedent in Ancient Greek theory, came to be associated with the repertory of Gregorian chant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
