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Gregorian chant is the central tradition of Western plainchant, a form of monophonic, ... Typical melodic features include a characteristic ambitus, ...
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 ...
Gregorian chants were organized initially into four, then into eight, and finally twelve modes. Typical melodic features include characteristic ambituses, intervallic patterns relative to a referential mode final, incipits and cadences, the use of reciting tones at a particular distance from the final, around which the other notes of the melody ...
Gregorian chant is a variety of plainsong named after Pope Gregory I (6th century A.D.), but Gregory did not invent the chant. The tradition linking Gregory I to the development of the chant seems to rest on a possibly mistaken identification of a certain "Gregorius", probably Pope Gregory II, with his more famous predecessor. The term ...
Gregorian chant, Tristes erant apostoli, version in the Vesperale Romanum, originally Ambrosian chant. [10] The Roman chant variant of the Requiem introit "Rogamus te" is in the (authentic) Phrygian mode, or 3rd tone. [11] Orlando di Lasso's (d. 1594) motet In me transierunt. [12] Giovanni Pierluigi da Palestrina's (d. 1594) motet ...
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 .
In describing the tonality of early music, the term "mode" (or "tone") refers to any of eight sets of pitch intervals that may form a musical scale, representing the tonality of a piece and associated with characteristic melodic shapes (psalm tones) in Gregorian chant.
Chants may range from a simple melody involving a limited set of notes to highly complex musical structures, often including a great deal of repetition of musical subphrases, such as Great Responsories and Offertories of Gregorian chant. Chant may be considered speech, music, or a heightened or stylized form of speech.