Which Of These Is Not A Characteristic Of Chant

Characteristics of Gregorian Chant

CHARACTERISTICSOF GREGORIAN CHANTFrom its birth, the Christian music was a sungprayer, which had to be realized not in a purely material way,but with devotion, or as Saint Paul was saying:”singingto God in your heart”. Text is the reason for beingof Gregorian Chant. Actually the singing of the text is basedon the principle of which —according to Saint Augustine— “who sings, prays twice”. The Gregorian Chant willnever be understood without the text which has priority on themelody and is the one that gives sense to this last. Therefore,on having to interpret the Gregorian Chant, the singers must understandvery well the sense of the text. In consequence, any type of operaticvoice in which the splendor of the interpreters is tried to beshowed must be avoided.
  • It is vocal music, which means that it is sung a capella (without the accompaniment of instruments)
  • It is sung in unison (just one note at a time), which means that all of the singers are enlivening the same melody
  • And it is sung to the unison (only one note at a time). Monody is the term used to describe this style of singing. Many authors argue that the singing of mixed choirs should not be permitted since two voices sing in the same octave, according to them. Although they propose that the chant be translated in alternate forms in order to adhere to the concept of Monody, they do so with the understanding that both men and women, as well as children, must have an equal chance to participate in the Liturgy. A free rhythm is used, with the development of the literary text taking precedence over measured schemes such as those used in a march, a dance, or an orchestral piece (see the section on rhythm for more information)
  • It is sung in the style of a symphony (see the section on rhythm for more information)
  • It is a modal music composed in scales of very specific sounds that serve to arouse various emotions such as withdrawal, happiness, sadness, and serenity (See the section onModes)
  • Its melody is syllabic if every syllable of the text corresponds to a sound, and it is melismatic if several sounds correspond to a single syllable of the text. In the book, which is written in Latin, the language of the Roman Empire, which expanded over Europe, there are melismas that have more than 50 of them for a single word (the romances languages didnot exist). They were taken from the Psalms and other books of the Old Testament
  • Some of them were taken from the Gospels
  • And others were of their own, typically anonymous, inspired writings or inspiration. Despite this, several liturgical works are available in the Greek language: In the Holy Friday liturgy, the Kyrie Eleison, Agios or Theos are chanted. A stave of four lines is used for the Gregorian Chant, as opposed to the stave used for the present musical composition. Notes with different names include square point (punctum quadratum) or virgas when they appear individually, and neumes when they appear in groups. All notes have the same duration, with the exception of those that have a horizontal epicema, the previous note to the quilisma, the second note of the Salicus, and the notes that have a point after them, which have the duration of an ordinary note. The notes that have a point after them have the duration of a simple note. (This will be detailed in further depth in the chapter titled “Notation”)

The Gregorian Chant in Its Early Stages As previously stated, the Gregorian Chant was created in order to be interpreted within the context of the Church’s Liturgy. As a result, the Liturgy is the inevitable progression. 1.The Divine Liturgy: There are two major categories of components that are used in the celebration of the Eucharist: In the Ordinary, there are passages that are repeated in all of the Masses. b) The Extraordinary: It is made of texts that are repeated in all of the Masses.

  • The Kyrie Eleison, Gloria in excelsis Deo, the Creed, the Sanctus and Benedictus, and the Agnus Dei are all included.

B) The Proprium is composed of pieces that are sung in accordance with the liturgical hour or in accordance with the feast that is being celebrated.

  • Introit: a chant used to signal the beginning of the celebration
  • After the readings, there will be a Gradual, Hallelujah, or Tract
  • An Offertory will accompany the procession of the gifts. Communion

Other parts, such as prayers, readings, the prologue, and the Eucharistic prayer, Our Father, are sung as recitatives with certain inflections (cantillatio) in addition to the two kinds of pieces mentioned above. These are works that, because of their simplicity, might be performed by the celebrant or by others who do not have extraordinary vocal abilities. 2.The Divine Office: In the monasteries, the monks took a break from their labor and met on a regular basis at specific times of the day to pray (as they still do today).

  • Vigils: Also known as night-watching. When the Bridegroom arrives at the midnight hour (Mt 25:6
  • Mk 13:35), the office of Vigils includes a hymn, psalms, biblical and patristic readings, and canticles appropriate to the spirit of the midnight hour (Mt 25:6). Lauds: It is celebrated at the crack of dawn, when the sun is dispersing the darkness and the new day is beginning to emerge. The Church has long seen the rising of the sun as a sign of Christ’s ascension from the dead. ‘Lauds’ is the name given to this prayer since it is a laudatory ritual of praise held in the early morning light. It is nine o’clock in the morning. The third hour, which is a Latin phrase for the middle of the day, is prayed. Tradition has it that it is devoted to the arrival of the Holy Spirit, which occurred at around 12 o’clock in the morning according to the story given in the Acts of the Apostles
  • Sext:12 M. The sixth hour, which is another of thelittle hours, is known as the sixth hour in Latin. When it takes place, it is during midday, when the sun is at its zenith and one has gotten a little tired, making mindfulness all but difficult to achieve. During this period, fervent prayer is required in order to fight temptation and to avoid being overtaken by the demands and stresses of daily life. None at 3 p.m. The ninth hour, or around mid-afternoon, is the third of the tiny hours, and it is the third of the little hours. While reaching one’s prime and requiring continual effort, it is a good time to pray for endurance and for the strength to continue bringing fruit. Vespers are at 6 p.m. The celebration, which occurs at the conclusion of the day, takes on the character of the evening. The day is almost over, and we have completed our tasks. To commemorate this vesper hour, a number of suitable hymn chants, psalm readings, and canticles have been composed. Complines: The word derives from the Latin and meaning “to complete.” Traditionally, it is the final shared prayer before retiring for the night. It signals the conclusion of our day and the beginning of the end of our life.(1)

The following chants are included in the Divine Office’s chant repertoire:

  • Praise and worship via psalm singing
  • Recitatives of readings and prayers in a straightforward style (cantillatio)
  • Invitatory antiphons
  • Hymns
  • Preface and Postlude antiphons
  • Psalm antiphonae (anthophagiae) Responsories
  • Te Deum
  • Chants from the Old and New Testaments (Benedictus, Magnificat, Nunc Dimittis)
  • Anthems of the Church.

3.- Additional chants:

  • Tropes include texts that are placed into formal prayers
  • Some new melodies, embellished with different melismas, were added to the Hallelujah chorus. Examples of sequences are the Easter Sequence, the dead Sequence, and so on. Processional chants include: the Procession of Palms, the Procession to the Tomb, the Procession with the Holy Sacrament, and other similar songs.

(1)Theabbey of the Genesee. Site on Internet.July 07, 2002

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Free Flashcards about Mus Quiz Ch 7&8

The use of text in formal prayers is known as a trope. Some melodies embellished with altered melismas were added to the Hallelujah; others were removed. In the case of Easter, a sequence of departed people might be appropriate. Processional chants include: the Procession of Palms, the Procession to the Tomb, the Procession with the Holy Sacrament, and other similar songs;

Question Answer
All are characteristics of Gregorian Chant except: Homophonic
The earliest form of polyphonic music in the Christian church was: Organum
The Doctrine of Ethos concerned: The moral and ethical aspects of music
In the listening example Kyrie, from the Mass “Cum Jubilo” the genre is: Gregorian Chant
In the listening example Kyrie, from the Mass “Cum Jubilo” the texture would be described as: Monophonic
In the listening example: Nunc aperuit nobis by Hildegard of Bingen, the rhythm could be described as: Unmetered
In the listening example: Nunc aperuit nobis by Hildegard of Bingen, all of the following are characteristics except: Timbre of male voices
In the listening example:Sumer is icumen the texture is: Polyphonic
In the listening example:Sumer is icumen there is a repeated bass motive called a(n): Ostinato
A 14th century composer who. supposedly composed the first complete setting of the Ordinary of the Mass: Guillaume de Machaut
In the listening example, gloria, from the Messe de Nostre Dame, the melody and harmony are: Unison
In the listening example, gloria, from the Messe de Nostre Dame, the texture is: Polyphonic
The two sections of the 14th century mass were: Proper and Ordinary
All aresections of the Ordinary of the Mass except: Easter sections
Music in 14th century Europe included all but one of the following characteristics: Reflected and Interest in one melody line (monophonic texture)
An important contributor to the study of intervals in the 6th century BC was: Pathagorus
Unaccompanied by instruments: a cappella
Scales that preceded major and minor scales Modes
Polyphonic piece; All voices perform the same melody at different times Canon
The text and formal arrangement of a religious service: Liturgy

IB Music/Music History/Medieval Period – Wikibooks, open books for an open world

Return to the IB Music Archive Middle Ages (450-1450) Sacred and secular music were distinguished in the Medieval Period, which was divided into two distinct categories. Sacred music was music that was used by the Roman Catholic Church, whilst secular music was music that had no connection to the Church and was utilized by other organizations.

Sacred Music

It is believed that sacred music emerged from a style known as theGregorian chant. A collection of chants named after Pope Gregory I, the Gregorian chants are considered to be the official compositions of the Catholic Church.

Characteristics of Gregorian chants

  • The melody of a Gregorian chant is highly free-flowing, as is the rhythm of the chant. The chant progresses upward and downward in little increments and jumps within a limited range. Melodies are frequentlymelismatic, meaning that syllables are stretched across numerous notes. Harmony- Because Gregorian chants have a monophonic texture, they do not include any harmony. Although drone (singing the same note over a lengthy period of time, generally in entire notes) was popular, it wasn’t always used. It is impossible to determine the exact timing of each word in a Gregorian chant. It is permissible to hold notes for a “short” or “long” period of time, but no complicated rhythms are employed. In terms of structure, several Gregorian chants are written in ternary (ABA) form. An incipit, or introduction solo, is performed by a cantor at the start of the composition. The piece is subsequently performed by the chorus, and at the conclusion, the cantor ends with a solo that was frequently performed at a lower dynamic level and with a more limited range of notes. Timbre- Sung by entirely male choirs in a hushed tone. However, they were occasionally composed as a teaching tool for women who were nuns in convents. Structure-Gregorian chants are one of the rare pieces of music that is totally monophonic, as seen by its texture. In a Gregorian chant, there is just one melodic line to be heard. The Gregorian chants were employed by the Church to help in the performance of prayers. They were sung by monks (and, on occasion, women in convents) in the past. In addition, because it was the official music of the Roman Catholic Church, all gregorian chants were just vocalists, as instrumentation was regarded to be Pagan by the Church. As a result, every text was written in Latin as a result of this. They were performed at the “office” and “mass” of religious ceremonies, and all gregorian chant was passed down orally because the use of written music was quite unusual at the time. Church Modes were the scales in which gregorian chants were performed, and they were divided into three categories. Up to the Renaissance period, they were in widespread usage during the middle ages. The phrase “what can we do with a drunken sailor” is an example of how they are used frequently in folk song. Church modes are composed of seven tones, with the eighth tone duplicating the tonic an octave higher than the tonic.


Around the year 700, the Gregorian chant began to take shape. From 700 to 900, composers would write a line in parallel motion to the chant at a predetermined interval of a fifth or a fourth above the original line, resulting in a total of nine lines. From 900 until 1200, this technology underwent considerable development. During this time, the upper line moved in its own right, independent of the initial chanting pattern. After 1100, top lines began to develop rhythmic independence and eventually became independent.

This is the name given to the Gregorian chant on which the higher lines are based, which is known as thecantus firmus.

Leonin and Perotin, two composers who worked together on organum, were important in its development.

Leonin was the director of music of Notre Dame Cathedral, and Perotin, a student of Leonin’s, took over as the director after him. It is therefore legitimate to speak to these two composers and their pupils collectively as theSchool of Notre Dame.

Significant Composers

  • Leonin – He is the first known composer to employ measured rhythm in his works
  • He is also the first known composer to utilize measured rhythm in his compositions. The composer Perotin is credited with being the first known composer to create three separate lines at the same time.

Sacred music was usually performed by singers. This was mostly owing to the association between instruments and paganic ceremonies. Although instruments were increasingly significant throughout the Medieval Period, this was not the case throughout the whole period. When it comes to holy music throughout the Medieval Period, the organ is the most essential instrument. Even while early organs were quite loud, they were significantly more difficult to operate and necessitated a considerable lot of physical power on the part of the player.

Secular Music

In contrast to religious music, secular music had a more clearly defined rhythm and a texture that was closer to homophony or polyphony than holy music. Because chords were merely inferred, it wasn’t pure homophony in this case. The texture was predominantly vocal, as was the case with holy music, albeit it did not treat instruments with the same level of distrust as the Church.


During the Medieval Period, a great deal of secular music was composed by troubadours and troubavères. These were nobility from France, and they were known for writing music in order to earn status.

Significant Composers

  • Guillaume IX, Duke of Aquitaine
  • Chastelain di Couci
  • Beatriz de Dia (a female troubadour)
  • Guillaume IX, Duke of Aquitaine


Jongleurs also created and performed secular music in addition to his religious works. Jongleurs were traveling minstrels who would go from town to town entertaining people with music, juggling, and theatre. They had no civil rights, yet they were vital members of society since they were responsible for spreading news from town to town. The estampie was one of the types of music that they performed. Anestampie is a quick dance in triple meter that is performed in a circle.

Ars Nova

Around the year 1350, a new type of music known as Ars Nova (New Art) began to emerge. The period known as Ars Nova encompasses both ecclesiastical and secular music, however secular music gained prominence during this time. The following are some of the most important aspects of Ars Nova:

  • Polyphony is being developed, as is the use of duple meter and syncopation.

Sacred Music

The emergence of a great form for religious music, themass ordinary, occurred during the Ars Nova period. The ordinary of the mass is made up of five prayers that are put to music in five separate movements. The prayers are as follows:

Secular Music

In part as a result of the Church’s declining power, secular music began to gain in popularity during the Ars Nova Period. Instruments were employed more often, while the majority of the song was still performed vocally. The ballata is a new secular form that emerged during the Ars Nova period. Theballatais a dance that takes the shape of the letters A BB AA. A ballata is also referred to as a falala due to the fact that it employs this line throughout its compositions.

Significant Composers

  • Works of significance
  • It is the first known polyphonic mass, and it is celebrated at Notre Dame Cathedral in Paris.
  • Works of significance
  • Ecco la Primavera – This is an example of an Ars Nova ballata
  • It was composed in the early twentieth century.

Instruments of the Period

Sonja Maurer-Dass contributed to this article. Gregorian chant is one of the most famous musical legacies of medieval Europe, distinguished by its free-flowing melodies, holy Latin lyrics, and distinctive monophonic texture. Gregorian chant, which was developed and propagated during the Carolingian dynasty, appears to be a world away from the much more contemporary epochs of Western music to which many of our ears are accustomed; however, it is from this ages-old liturgical tradition that our current understanding of Western music and its accompanying system of musical notation derives from.

This section will look at how Gregorian chant came to be and how it spread throughout the world.

Many medieval music fans nowadays are aware with Gregorian chant (also known as Frankish-Roman chant), which is the most well-known of the liturgical chant traditions; nevertheless, throughout early medieval Europe, there were numerous distinct styles of holy chant that differed according to area.

  • When one considers the several diverse Western liturgical chant traditions that have existed throughout the centuries, one would wonder why Gregorian chant has become the most generally recognized and maintained of them all.
  • The development of Gregorian chant took place between the seventh and ninth centuries CE, during a period in which Frankish monarchs, most notably Charlemagne, tried to bring liturgical consistency to their kingdoms.
  • Charlemagne declared in 789 that all of his kingdoms would be consolidated under a single Roman liturgy and chant, which became known as the Roman Rite.
  • In essence, Gregorian chant was, as Margot Fassler puts it, “the revised song of the Franks,” which arose from a fusion of Old Roman chant with the Gallican chant of the Franks, according to Fassler.
  • So far, we’ve looked at how the Carolingians had a crucial part in the spreading and development of Gregorian chant, but what about the popular tale that claims that Pope Saint Gregory I (“Gregory the Great”) is responsible for the spread of Gregorian chant?
  • Because it was sung to Gregory I by the Holy Spirit, who came to him in the guise of a white dove, it was considered the most sacred and true type of liturgical chant.
  • Some musicologists, on the other hand, have speculated that Gregory may have had a role in the codification and consolidation of previous chants, which eventually served as the foundation for later Gregorian chant.

A common depiction of the dove is that it is singing its sacred songs to Gregory, while Gregory is concurrently dictating the dove’s melodies to a nearby scribe.

Gregorian Chant’s Texture and Melody are both beautiful.

“Monophonic” is a musical word that refers to the performance of a single tune with no accompaniment (that is, there is no harmony played with a melody).

In the opening minute of the following chant sample, which was produced by the twelfth-century abbess, philosopher, mystic, and composer Hildegard of Bingen, you can hear a drone that is repeated several times.

For those who have heard different recordings of Gregorian chant, you may have noticed that its melodies are quite flowing in comparison to many modern types of Western art music and popular music.

Classical Gregorian melodies were produced using the notes of an organized pitch system known as modes (which were distinct from the major and minor keys that are now employed in Western music), and they were set to sacred Latin texts from religious services such as the Mass and the Divine Office.

  1. Gregorian Chant and Early Types of Medieval Musical Notation are two examples of medieval musical notation.
  2. This necessitated the development of a method of recording tunes that could be correctly taught and conveyed without the limitations of human memory.
  3. Instead, it made use of symbols known as “neumes,” which served as a kind of trigger for melodies that had previously been acquired and retained as part of an oral culture.
  4. They reflect the relative rising and descending melodic motion of the text.
  5. The St.
  6. Gall in Switzerland, is one of the earliest existing sources of this notation (which was copied in the tenth century).
  7. Sang.
  8. Sang.
  9. Sang.
  10. Guido d’Arezzo, a prominent music theorist who lived in Arezzo in the eleventh century, continued to create the framework for modern music notation by developing a four-line musical staff divided by intervals of thirds (an interval is the distance between two pitches).

Guido described the manner in which his employees worked in the preface to his antiphoner (of which only the prologue has been preserved): As a result, the notes are organized in such a manner that any sound, no matter how many times it appears in a song, can always be located in the same row.

–Margot Fassler provided the translation.

As a singer or member of a chorus, you may be acquainted with the syllable pattern Do-Re-Mi-Fa Sol, etc., in which each syllable corresponds to a written note (Guido’s syllable pattern differed somewhat in that the first syllable he used was “Ut” instead of “Do”).

Square notation allowed for the inclusion of more melodic elements that may be interpreted by vocalists who were unfamiliar with the source material.

It’s possible that you’ve already seen some square notation in medieval chant manuscripts, such as punctum (a single note sung to a single syllable); podatus (two notes—one is written on top of the other and the lowest of the two notes is sung first followed by the second note which moves in ascending motion); clivis (contains two notes that are sung in descending motion); and torculus (three notes sung consecutively When compared to our modern experiences of melody and notation, the notation and melodies of Gregorian chant may appear to be foreign and unfamiliar at first glance and listen; however, upon closer examination, it is fascinating and possible to see how the earliest attempts to record and accurately transmit sacred chant evolved over many centuries and eventually matured into the comprehensive system that is widely used and understood in the modern day.

  1. Sonja Maurer-Dass is a Canadian musicologist and harpsichordist who specializes in Baroque music.
  2. In addition, she possesses a Master’s degree on Musicology from York University, where she specialized in late medieval English choral music and the Old Hall Manuscript, among other things (Toronto, Canada).
  3. The paper was presented at the 9th International Medieval Meeting.
  4. Read on for more information: Willi Apel is the author of this work.
  5. Western Music in Context: Western Music in the Medieval West is a book on music in the Medieval West (W.W.
  6. Carolingians and Gregorian Chant are two examples of medieval music (Princeton University Press, 1998) Richard Taruskin is the author of this work.

From the earliest notations through the sixteenth century, there has been music (Oxford University Press, 2010) Adiastematic gregorian aquitanian notation is seen in the top image. Commons image courtesy of Wikimedia Commons

The Middle Ages

Historically, the traditions of Western music may be traced back to the social and theological changes that occurred in Europe throughout the Middle Ages, which corresponded to the period roughly spanning 500 to 1400 years before the present. Because of the dominance of the early Christian Church during this time period, religious music was the most common type of music heard. The development of church music began with Gregorian Chant and progressed to a polyphonic melody known asorganum, which was sung at Notre Dame in Paris around the eleventh century.

  • Before the Middle Ages, music had been a part of the world’s civilizations for hundreds of years, if not thousands of years.
  • The term music stems from the ancient Greek muses, who were nine goddesses of art and knowledge who were worshipped in ancient Greece.
  • Pythagoras and others were responsible for establishing the Greekmodes, which are scales composed of entire tones and halfsteps.
  • The early Church was able to assert ultimate control over these feudal lords primarily via the use of superstitious terror.
  • In these days and times, western music was almost the exclusive property of the Christian Church.
  • Christianplainchant, like all music in the Western culture until to this point, was monophonic: that is, it consisted of a single melody with no harmonic support or accompaniment.
  • The melodies are loose and appear to roam, as if they are being guided by the Latin liturgical texts to which they have been composed.

In the sixth century, it was claimed that Pope Gregory I (reigned 590-604) standardized them, ensuring universal usage across the Western Church.

In the Easter hymn, Victimae paschali laudes, you may get a sense of the clear, floating melody that it has.

(Insert audio clip) The Ars Antiqua and Notre Dame are two of the most famous buildings in the world.

Organum was the name given to the hollow-sounding music that resulted as a result of this process during the following hundred years.

This was followed by a slow singing of the original chant tune in the tenor voice, with additional melodies weaving around and embellishing the resultant drone.

Leonin (fl.

1163-1190), who produced organa for two voices, and his successor Pérotin (fl.

Pérotin’s work is an exceptional example of this extremely early type of polyphony (music for two or more voices that sound at the same time), as may be heard in his arrangement of Sederunt principes (Sederunt principles) (sound clip).

The Trouvères and the Troubadours are two types of street performers.

There were no restrictions on this music because it did not follow the traditions of the Church, and it was not even written down until sometime after the tenthcentury.

Even so, hundreds of these songs were written and performed (and much later recorded) by bands of musicians that flourished across Europe during the 12th and 13th centuries, the most renowned of whom were the French trouvères and troubadours, who were the most famous of all.

It is love, in all its incarnations of joy and agony, that is the theme of the vast majority of these songs.


Additionally, he has been recognized as the author of a large number of songs and verses, someof which take the form of themotet, a musical composition in which two or more separate lines are stitched together at the same time, without regard to what we now consider normal harmonies.

(sound clip) is an example of such a work.

Guillaume de Machaut and the Ars Nova Guillaume de Machaut was born in the Champagne area of France about 1300 and died in Rheims in 1377.

He remained at the court of John until the monarch’s death in battle at Crécy in 1346, during which time he worked as the king’s secretary.

Several significant patrons, including the future Charles V of France, sought out his talents as a composer and conductor.

Machautis is arguably most known for being the first composer to construct a polyphonic setting of the Ordinary of the Catholic Mass, which he did in 1845.

The “Gloria” from Machaut’s Messe de Notre Dame exemplifies the new style of the fourteenthcentury, which was dubbed theArs Nova by composers of the time (sound clip).

Despite the fact that the Mass is perhaps his most well-known work today, Machaut also penned scores of secular love songs, many of which were in the manner of the polyphonic Ars Nova or “new art,” which he admired.

The secular motets of the Middle Ages eventually developed into the massive quantity and outpouring of music produced by the great RenaissanceMadrigalists of the Renaissance period. Jason R. Ogan conducted research in 2001.

mode – Plainchant

Plainchant, also known as plainsong, is the foundation of the musical repertory of the Roman Catholic Church. It is also known as Gregorian chant. It is made up of around 3,000 tunes that were gathered and structured over the reigns of numerous popes in the 6th and 7th centuries. Pope Gregory I was the most important figure in the codification of these chants.

The eight modes

Gregorian chants are based on eight distinct modes, which are referred to as “church modes” in terms of their melody. In ancient Greece, seven of the modes had names that were identical to those used today. These were Dorian and Hypodorian; Phrygian and Hypophrygian; Lydian and Hypolydian; and Mixolydian. The Greek term for the eighth mode, Hypomixolydian, was developed from the names of the first seven modes. Each mode is comprised of an adiatonic scale with a compass of one octave in length.

  • An “genuine” mode is defined by the finalis of each of the four notes of the tetrachordD–E–F–G (D–E–F–G) (see chart below).
  • A B C D are the letters of the alphabet.
  • If the finalisfalls on the lowest note of its pentachord, it is considered successful.
  • The finalis is denoted by a capital letter in the following chart of the eight church modes: thefinalis.
1.D e f g a b c d Dorian
2.D e f g a Hypodorian a b c
3.E f g a b c d e Phrygian
4.E f g a b Hypophrygian b c d
5.F g a b c d e f Lydian
6.F g a b c Hypolydian c d e
7.G a b c d e f g Mixolydian
8.G a b c d Hypomixolydian d e f

The tones of the Hypomixolydian mode are identical to those of the Dorian mode, however the finalis of the two modes is located in a different part of the scale. The nature of the church modes was further defined by a variety of specific melodic formulae, and the individual modes were sometimes associated with a particular ethos. While the Byzantine classification specifies first the four authentic modes and subsequently the four plagal modes, the Roman classification alternates between the authentic and plagal modes, resulting in modes with the same finalisfollowing each other in the order of appearance.

The Dorian and Hypodorian modes are represented by the first pair, orprotus maneria; the Phrygian and Hypophrygian modes are represented by the second pair, ordeuterus; the Lydian and Hypolydian modes are represented by the third pair, ortritus; and the Mixolydian and Hypomixolydian modes are represented by the fourth pair, ortrardus.

Perhaps the most noticeable difference is the distinct meanings assigned to the names of the Greek Octave species and the names of the church modes.

This resulted in dorian (D–D), phrygian (E–E), lydian (C–c), and mixolydian (B–b) appearing in the church modes, respectively, in place of the Greek octave species Dorian, phrygian, Lydian, and Mixolydian (B–b).

Gradual emergence of major and minor tonality

Despite the fact that the two notes B and B never appeared in sequence, the rigorous coherence of the system of church modes was progressively eroded by the occurrence of B as an additional note to the B. Because medieval musicians were attempting to avoid the tritone F–B, they used a tone not included in the basicscalepattern as a primary rationale for using this tone. Because it contains three whole tones, the tritone (also known as the tritone interval) was seen as an unpleasant interval, especially when compared to the perfect fourth F–B.

For example, theLydian mode with a flattened B was identical to the modern major mode, specifically with the F–major scale (F G A B C D E F); and theDorian mode with a flattened B generated a minor mode corresponding to the natural D minor scale (D E F G A B C D); and the Dorian mode with a flattened B generated a minor mode corresponding to the natural D minor scale (D E F G A B C D).

A manifestation of this unwillingness to recognise the presence of extra modes is found in the so-called musica ficta genre.

It was a result of two distinct developments that took place between the 12th and 16th centuries that led to the radical transformation of modal theory: the infiltration of folk music into the ecclesiasticaand secular art forms, and the gradual development of a fabric of harmony that was intended to unify the growing complexity of polyphonic (many-voiced) musical texture.

Adding the following four modes to the system of eight church modes in hisDodecachordon(1547; from Greekddeka, “twelve,” andchorda, “string”), possibly the most important musical treatise of the day, Glareanus expanded the system of eight church modes by adding the following four: Major and minor modes are represented by Ionian and Hypoionian modes, respectively, whereas Aeolian and Hypoaeolian modes correspond to the “natural” minor mode.

The 12 modes of the Dodecachordoncomprising authentic and plagal structures with tonal centers on the notes C, D, E, F, G, and A, without resort to sharpened or flatted tones, are composed of authentic and plagal structures with tonal centers on the notes C, D, E, F, G, and A.

However, because the fifth degree above it, F, and the fifth degree above it, B, constitute a “false” (i.e., reduced, or flattened) fifth (another version of the banned tritone), Glareanus claims that there are only 12 modes usable for practical purposes.

Throughout the Western Hemisphere, the further evolution of art music is marked by the progressive rejection of the ancient religious modes in favor of the dual major-minor system that dominated harmony in the eighteenth and nineteenth centuries, respectively.

Major and minor scale patterns, on the other hand, possess all of the key properties of modes and should be treated as such in their evaluation.

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