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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 ...
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 ...
This is a list of calendars.Included are historical calendars as well as proposed ones. Historical calendars are often grouped into larger categories by cultural sphere or historical period; thus O'Neil (1976) distinguishes the groupings Egyptian calendars (Ancient Egypt), Babylonian calendars (Ancient Mesopotamia), Indian calendars (Hindu and Buddhist traditions of the Indian subcontinent ...
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]
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.
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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 Bruckner's compostition is a not a mere harmonisation of a Gregorian antiphon, but rather a choral paraphrase of the Ave Regina caelorum for voice(s) and organ [3] or, according to Leopold Nowak, an original composition by Bruckner in Gregorian style.