Search results
Results From The WOW.Com Content Network
A plagal mode (from Greek πλάγιος 'oblique, sideways, athwart') [7] [8] has a range that includes the octave from the fourth below the final to the fifth above. The plagal modes are the even-numbered modes 2, 4, 6 and 8, and each takes its name from the corresponding odd-numbered authentic mode with the addition of the prefix "hypo-": Hypodorian, Hypophrygian, Hypolydian, and ...
The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale, but differs from it by also involving an element of melody type.
The monks of Santo Domingo de Silos have been singing Gregorian chant since the 11th century (before that, they used Mozarabic chant).There was a break in the tradition in the 1830s when the abbey was closed by the government as part of the so-called Ecclesiastical Confiscations of Mendizábal.
Medieval modes (also called Gregorian mode or church modes) were numbered, either from 1 to 8, or from 1 to 4 in pairs (authentic/plagal), in which case they were usually named protus (first), deuterus (second), tertius (third), and tetrardus (fourth), but sometimes also named after the ancient Greek tonoi (with which, however, they are not ...
What links here; Related changes; Upload file; Special pages; Permanent link; Page information; Cite this page; Get shortened URL; Download QR code
Not only are many chants in mode III and VIII in need of melodic restitution, there are errors in all other modes. The Munsterschwarzach-Group (Godehard Joppich, Stefan Klockner et al.)(publishers of the Beiträge zur Gregorianik ) have been issuing their own melodic restitutions, as has Anton Stingl, and Geert Maassen with his Fluxus .notation.
The earliest Tonary: the fragment of Saint-Riquier (F-Pn lat. 13159, fol. 167r). Tonaries were particularly important as part of the written transmission of plainchant, although they already changed the oral chant transmission of Frankish cantors entirely before musical notation was used systematically in fully notated chant books. [1]
Reciting tones occur in several parts of the Roman Rite. [citation needed] 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.