Mode | Grove Music

Mode II. Medieval modal theory 1. The elements. (i) The Hellenistic model: tonus, modus, tropus.: Ex.1

Ex.1

The modal system of Latin chant

Mode II. Medieval modal theory 2. Carolingian synthesis, 9th–10th centuries. (i) The Boethian double octave and the modes. (a) The systems of tetrachords.: Ex.2

Ex.2

Mode II. Medieval modal theory 2. Carolingian synthesis, 9th–10th centuries. (i) The Boethian double octave and the modes. (a) The systems of tetrachords. (b) Tetrachordal degrees and modal quality.: Table 2

Table 2

Mode II. Medieval modal theory 2. Carolingian synthesis, 9th–10th centuries. (ii) Octave species and the Hellenistic names.: Ex.3

Ex.3

Mode II. Medieval modal theory 2. Carolingian synthesis, 9th–10th centuries. (iii) Melodic types and modal orientation. (b) An instance of modal ambiguity.: Ex.4

Ex.4

Mode II. Medieval modal theory 3. 11th-century syntheses. (i) Italian theory of modal functions. (b) Ambitus.: Ex.5

Ex.5

Psalm-tone tenors and modal finals

Mode II. Medieval modal theory 3. 11th-century syntheses. (ii) Reichenau theory of modal species and locations. (a) Modal species of the consonances. 4. Mode in the later Middle Ages. (ii) Italian modal theory in the 14th and 15th centuries.: Ex.6

Ex.6

Mode II. Medieval modal theory 3. 11th-century syntheses. (ii) Reichenau theory of modal species and locations. (a) Modal species of the consonances.: Table 4

Table 4

Mode II. Medieval modal theory 3. 11th-century syntheses. (ii) Reichenau theory of modal species and locations. (a) Modal species of the consonances.: Ex.7

Ex.7

Mode II. Medieval modal theory 3. 11th-century syntheses. (ii) Reichenau theory of modal species and locations. (b) Modes of the degrees and the ‘sedes troporum’.: Ex.8

Ex.8

Modi vocum and sedes troporum

Mode II. Medieval modal theory 3. 11th-century syntheses. (ii) Reichenau theory of modal species and locations. (b) Modes of the degrees and the ‘sedes troporum’. (iii) Authentic–plagal distinctions.: Ex.9

Ex.9

Mode II. Medieval modal theory 4. Mode in the later Middle Ages. (i) Modal quality and hexachord syllables. (a) Regular finals and transposed affinals. (b) Transformed finals.: Table 6

Table 6

Mode II. Medieval modal theory 4. Mode in the later Middle Ages. (ii) Italian modal theory in the 14th and 15th centuries.: Ex.10

Ex.10

Mode II. Medieval modal theory 4. Mode in the later Middle Ages. (ii) Italian modal theory in the 14th and 15th centuries.: Ex.11

Ex.11

Mode II. Medieval modal theory 4. Mode in the later Middle Ages. (ii) Italian modal theory in the 14th and 15th centuries.: Ex.12

Ex.12

Mode II. Medieval modal theory 4. Mode in the later Middle Ages. (ii) Italian modal theory in the 14th and 15th centuries.: Ex.13

Ex.13

Mode II. Medieval modal theory 4. Mode in the later Middle Ages. (iii) Expansion of the tonal system.: Ex.14

Ex.14

Mode II. Medieval modal theory 4. Mode in the later Middle Ages. (iii) Expansion of the tonal system. III. Modal theories and polyphonic music 3. Polyphonic modal theory and the eightfold system. (i) Aaron and the psalm-tone differentiae.: Ex.15

Ex.15

Mode III. Modal theories and polyphonic music 1. Elements of polyphonic modal theory. (ii) Modality in a polyphonic texture. (a) The modal voices.: Table 7. Du Fay, Le serviteur

Table 7. Du Fay, Le serviteur

Mode III. Modal theories and polyphonic music 1. Elements of polyphonic modal theory. (ii) Modality in a polyphonic texture. (b) The modal ensemble.: Ex.16

Ex.16

Mode III. Modal theories and polyphonic music 2. Polyphonic modal functions. (i) Cadences and openings. 4. Systems of 12 modes. (ii) Glarean’s 12 modes. (c) Mode as ethos, category and inherent property.: Ex.17

Ex.17

Mode III. Modal theories and polyphonic music 2. Polyphonic modal functions. (ii) The integration of modality and polyphony.: Ex.18

Ex.18

Mode III. Modal theories and polyphonic music 3. Polyphonic modal theory and the eightfold system. (ii) Composite modes.: Ex.19

Ex.19

Table 8. Pontio: cadential degrees in eight modes

Mode III. Modal theories and polyphonic music 4. Systems of 12 modes. (ii) Glarean’s 12 modes. (a) The 12 modal octave species and their Greek names.: Table 9

Table 9

Mode III. Modal theories and polyphonic music 4. Systems of 12 modes. (ii) Glarean’s 12 modes. (a) The 12 modal octave species and their Greek names.: Ex.20 Glarean’s 12 modes from seven mediated octave species (see also table 9)

Ex.20 Glarean’s 12 modes from seven mediated octave species (see also table 9)

Mode III. Modal theories and polyphonic music 4. Systems of 12 modes. (ii) Glarean’s 12 modes. (b) Modal function and non-modal consonance species.: Ex.21 Melodia (Cochlaeus, Wollick), repercussa/phrasis (Glarean)

Ex.21 Melodia (Cochlaeus, Wollick), repercussa/phrasis (Glarean)

Mode III. Modal theories and polyphonic music 4. Systems of 12 modes. (iii) Zarlino’s synthesis of modality and polyphony.: Table 10. A survey of modal ethos according to Zarlino

Table 10. A survey of modal ethos according to Zarlino

Mode III. Modal theories and polyphonic music 5. Transition to major and minor keys. (i) The 12 modes in the late 16th century.: Table 11

Table 11

Mode III. Modal theories and polyphonic music 5. Transition to major and minor keys. (ii) The modes in the 17th century. (b) The eightfold system and the 12 modes. (iii) The modal triad.: Ex.22

Ex.22

Mode III. Modal theories and polyphonic music 5. Transition to major and minor keys. (ii) The modes in the 17th century. (b) The eightfold system and the 12 modes.: Ex.23

Ex.23

Mode III. Modal theories and polyphonic music 5. Transition to major and minor keys. (ii) The modes in the 17th century. (c) The eightfold system and the 24 major and minor keys.: Ex.24

Ex.24

Mode III. Modal theories and polyphonic music 5. Transition to major and minor keys. (iii) The modal triad.: Ex.25

Ex.25

Mode IV. Modal scales and traditional music 2. Modal scales and melody types in Anglo-American folksong. (i) Folksong scholarship and the modes. (b) A new modal theory for Anglo-American folksong.: Ex.26

Ex.26

Mode IV. Modal scales and traditional music 2. Modal scales and melody types in Anglo-American folksong. (ii) Melody type in Anglo-American folksong. (b) Tune families.: Ex.27 Mode V. Middle East and Asia 2. Middle East and Central Asia: ‘maqām’, ‘makom’ (v) Modal nucleus and modal complex in Persian music. (vii) Tonal function and melodic progression.: Ex.30 (a) Turkish: makam beste-nigar (b) Arabic: taqsīm in bastah-nigar

Ex.27 Ex.31. Modal nuclei gushehs of dastgāh-e chāhārgāh

Mode IV. Modal scales and traditional music 2. Modal scales and melody types in Anglo-American folksong. (ii) Melody type in Anglo-American folksong. (b) Tune families.: Ex.28

Ex.28

Mode IV. Modal scales and traditional music 2. Modal scales and melody types in Anglo-American folksong. (ii) Melody type in Anglo-American folksong. (b) Tune families.: Ex.29

Ex.29

The fretting of the Ottoman tanbûr. Cantemir:Kitâb-i ‘Ilm el-Mûsikî alâ Vech el-Hurûfât (Cantemir, c1700)

Mode V. Middle East and Asia 2. Middle East and Central Asia: ‘maqām’, ‘makom’ (ii) Modal entities and the general scale.: Table 14. The 49 notes of the modern Arab scale

Table 14. The 49 notes of the modern Arab scale

Mode V. Middle East and Asia 2. Middle East and Central Asia: ‘maqām’, ‘makom’ (iv) Turko-Arabic simple and mixed modal complexes. (vi) Modulation.: Ex.30 (a) Turkish: makam beste-nigar (b) Arabic: taqsīm in bastah-nigar

Ex.30 (a) Turkish: makam beste-nigar (b) Arabic: taqsīm in bastah-nigar

Mode modus: ‘measure’ ‘standard’ ‘manner’ ‘way’ V. Middle East and Asia 2. Middle East and Central Asia: ‘maqām’, ‘makom’ (v) Modal nucleus and modal complex in Persian music. (vii) Tonal function and melodic progression.: Ex.31. Modal nuclei gushehs of d

Mode modus: ‘measure’ ‘standard’ ‘manner’ ‘way’ V. Middle East and Asia 2. Middle East and Central Asia: ‘maqām’, ‘makom’ (v) Modal nucleus and modal complex in Persian music. (vii) Tonal function and melodic progression.: Ex.31. Modal nuclei gushehs of dastgāh-e chāhārgāh

Mode V. Middle East and Asia 2. Middle East and Central Asia: ‘maqām’, ‘makom’ (vi) Modulation. 3. South Asia: ‘rāga’. (iv) Modal nucleus and modal entity.: Ex.32

Ex.32

Mode V. Middle East and Asia 2. Middle East and Central Asia: ‘maqām’, ‘makom’ (vi) Modulation.: Ex.33(a) modal composition of makam sabā (b) sabā: simple scale type

Ex.33(a) modal composition of makam sabā (b) sabā: simple scale type

Mode V. Middle East and Asia 2. Middle East and Central Asia: ‘maqām’, ‘makom’ (vii) Tonal function and melodic progression.: Ex.34

Ex.34

Mode V. Middle East and Asia 3. South Asia: ‘rāga’. (iii) The system tonic. (iv) Modal nucleus and modal entity. (vi) Modal functions.: Ex.35

Ex.35

Mode V. Middle East and Asia 3. South Asia: ‘rāga’. (iv) Modal nucleus and modal entity. (vi) Modal functions.: Ex.36

Ex.36

Mode V. Middle East and Asia 3. South Asia: ‘rāga’. (iv) Modal nucleus and modal entity.: Table 16

Table 16

Mode V. Middle East and Asia 3. South Asia: ‘rāga’. (v) ‘Pure’ and ‘mixed’ modal entities.: Ex.37

Ex.37

Mode V. Middle East and Asia 3. South Asia: ‘rāga’. (v) ‘Pure’ and ‘mixed’ modal entities. (vii) Modal systems.: Ex.38

Ex.38

Mode V. Middle East and Asia 3. South Asia: ‘rāga’. (v) ‘Pure’ and ‘mixed’ modal entities. (vi) Modal functions. (vii) Modal systems.: Ex.39

Ex.39

Mode V. Middle East and Asia 3. South Asia: ‘rāga’. (v) ‘Pure’ and ‘mixed’ modal entities.: Ex.40

Ex.40

Mode V. Middle East and Asia 3. South Asia: ‘rāga’. (vi) Modal functions.: Table 17. The four principal modal functions in the modal entities of West Asia

Table 17. The four principal modal functions in the modal entities of West Asia

Mode V. Middle East and Asia 3. South Asia: ‘rāga’. (vi) Modal functions.: Ex.41

Ex.41

Mode V. Middle East and Asia 4. South-east Asia: pathet. (ii) Pathet. (b) Modes and scales in Javanese gamelan music.: Table 18. The degrees of Sléndro and Pélog

Table 18. The degrees of Sléndro and Pélog

Mode V. Middle East and Asia 4. South-east Asia: pathet. (ii) Pathet. (d) Modal entity and modal functions.: Table 19

Table 19

Relative strength of pitch classes in sléndro pathet

The proportion of pitches that fall at kenong- and gong-trokes in all but the smallest compositions of the three sléndro pathet. Two octaves of the conceptual ambitus of the balungan (skeleton are represented

The proportion of pitches that fall at kenong- and gong-trokes in all but the smallest compositions of the three sléndro pathet. Two octaves of the conceptual ambitus of the balungan (skeleton are represented

Mode V. Middle East and Asia 4. South-east Asia: pathet. (ii) Pathet. (e) Melodic aspects: balungan.: Ex.42 (a) Sléndro nem; (b) Sléndro sanga; (c) Sléndro manyura

Ex.42 (a) Sléndro nem; (b) Sléndro sanga; (c) Sléndro manyura

Mode V. Middle East and Asia 4. South-east Asia: pathet. (ii) Pathet. (f) Melodic aspects: garap. (g) Transposition, transformation and the relationships between pathet. (i) The nature of pathet.: Ex.43 Gendèr parts from Martopangrawit, 1976: (a) Manyura; (b) Sanga

Ex.43 Gendèr parts from Martopangrawit, 1976: (a) Manyura; (b) Sanga

Mode V. Middle East and Asia 4. South-east Asia: pathet. (ii) Pathet. (g) Transposition, transformation and the relationships between pathet.: Ex.44 Excerpt from the vocal part of Kinanthi, comparing sléndro manyura and pélog barangversions (based on Supanggah, 1985, p.156)

Ex.44 Excerpt from the vocal part of Kinanthi, comparing sléndro manyura and pélog barangversions (based on Supanggah, 1985, p.156)

Two alternative distribution patterns of wide and narrow intervals along a portion of the sléndroscale, corresponding to two different pathet; based on Martopangrawit, 1984, p.45

Mode V. Middle East and Asia 4. South-east Asia: pathet. (ii) Pathet. (i) The nature of pathet.: Table 23

Table 23

Mode V. Middle East and Asia 4. South-east Asia: pathet. (ii) Pathet. (i) The nature of pathet.: Ex.45 (a) Martopangrawit, 1977, p.6; (b) Soewita, gendhing Danaraja,Chamber Music of Central Java, King KICC 5152 (1992); (c) Soewita, gendhing Danaraja, Chamber Music of Central Java, King KICC 5152 (1992)

Ex.45 (a) Martopangrawit, 1977, p.6; (b) Soewita, gendhing Danaraja,Chamber Music of Central Java, King KICC 5152 (1992); (c) Soewita, gendhing Danaraja, Chamber Music of Central Java, King KICC 5152 (1992)

Mode V. Middle East and Asia 5. East Asia: diao and chōshi.(ii) Japan: chōshi.(a) Scales and modes in Japanese court music.: Table 24. The six principal modes of tōgaku as they appear in a Chinese rock inscription of 754 recorded in the 10th century source Tang Huihao

Table 24. The six principal modes of tōgaku as they appear in a Chinese rock inscription of 754 recorded in the 10th century source Tang Huihao

Mode V. Middle East and Asia 5. East Asia: diao and chōshi.(ii) Japan: chōshi.(a) Scales and modes in Japanese court music.: Table 25. Comparison of Tang-period Chinese forms of modes with those of the present-day tōgaku

Table 25. Comparison of Tang-period Chinese forms of modes with those of the present-day tōgaku

Mode V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (a) Scales and modes in Japanese court music.: Table 26. Modern tōgaku modes showing position of exchange tones

Table 26. Modern tōgaku modes showing position of exchange tones

Alteration of modal degree (ritsu) in the melodies of the hichiriki and ryūteki

Mode V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (b) Modal individuality and transposition especially within the three ritsu chōshi.: Ex.46 Etenraku, shō mouth-organ part (1308)

Ex.46 Etenraku, shō mouth-organ part (1308)

Mode V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (b) Modal individuality and transposition especially within the three ritsu chōshi.: Ex.47 Etenraku, modern shō part in three modal versions

Ex.47 Etenraku, modern shō part in three modal versions

Mode V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (b) Modal individuality and transposition especially within the three ritsu chōshi.: Ex.48

Ex.48

Mode V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (b) Modal individuality and transposition especially within the three ritsu chōshi.: Ex.49 Scales of hichiriki part in Etenraku banshikichō

Ex.49 Scales of hichiriki part in Etenraku banshikichō

Mode V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (c) Transformation and transposition: modes, scales and tunings.: Ex.50

Ex.50

Mode V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (c) Transformation and transposition: modes, scales and tunings.: Ex.51 (a) ritsu-scale tunings for the gakusō (koto) in gagaku; (b) in scales tunings for the koto (17th century and later)

Ex.51 (a) ritsu-scale tunings for the gakusō (koto) in gagaku; (b) in scales tunings for the koto (17th century and later)

Mode V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (c) Transformation and transposition: modes, scales and tunings.: Ex.52 Banshikicho, Oshikicho, Hyojo Mode V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (c) Transformation and transposition: modes, scales and tunings.: Ex.53 (a) ritsu-scale tunings for the gakuso (koto) in gagaku (b) in-scale tunings...

Ex.52 Banshikicho, Oshikicho, Hyojo Ex.53 (a) ritsu-scale tunings for the gakuso (koto) in gagaku (b) in-scale tunings...

Mode modus: ‘measure’ ‘standard’ ‘manner’ ‘way’ V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (c) Transformation and transposition: modes, scales and tunings.: Ex.53 (a) ritsu-scale tunings for the gakuso (koto) in gagaku (b) in-scale tunings...

Mode modus: ‘measure’ ‘standard’ ‘manner’ ‘way’ V. Middle East and Asia 5. East Asia: diao and chōshi. (ii) Japan: chōshi. (c) Transformation and transposition: modes, scales and tunings.: Ex.53 (a) ritsu-scale tunings for the gakuso (koto) in gagaku (b) in-scale tunings...

India, subcontinent of III. Theory and practice of classical music. 2. Rāga. (iv) Rāga in Karnatak music.: Ex.7

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