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Harold S. Powers

revised by Frans Wiering

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Harold S. Powers

revised by Frans Wiering

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Harold S. Powers

revised by Frans Wiering

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Harold S. Powers, Frans Wiering, James Porter, James Cowdery, Richard Widdess, Ruth Davis, Marc Perlman, Stephen Jones and Allan Marett

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Mode  

Harold S. Powers, Frans Wiering, James Porter, James Cowdery, Richard Widdess, Ruth Davis, Marc Perlman, Stephen Jones and Allan Marett

(from Lat. modus: ‘measure’‘standard’ ‘manner’‘way’)

A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5, (ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6.

Harold S. Powers, revised by Frans Wiering...

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(fl late 14th century). Theorist and composer, likely from Aversa in the Campania region of Italy. He is best known from the frequent references made in the Ars cantus mensurabilis mensurata per modos iuris by Coussemaker’s Anonymous 5. This author describes Nicolaus as a Celestine monk, naming him ‘Frater’; the Celestines were a branch of the Benedictine order. He is largely associated with certain notational intricacies of the ‘ars subtilior’ style: complicated rhythms conveyed with void, coloured, or complex new note shapes. According to Anonymous 5, Nicolaus critiqued one ‘Cecchus de Florentia’ (the ‘blind one of Florence’, thus Francesco Landini), for his incorrect use of red semibreves in minor prolation, while Nicolaus himself used the dotted semibreve. The treatise does not name specific works that use any of these notational features, a regrettable omission since none of Nicolaus’s compositions are known today. Anonymous 5 does cite a setting of the Credo by Nicolaus for its use of ...

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Harold S. Powers, Frans Wiering, James Porter, James Cowdery, Richard Widdess, Ruth Davis, Marc Perlman, Stephen Jones and Allan Marett

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