Mode (music) (original) (raw)
En l'aspecte músical, el terme mode o modo es refereix a: * Un tipus d'escala musical (sobre el que tracta aquest article). * La relació rítmica entre durades llargues i curtes, utilitzat en la Baixa Edat Mitjana; * La relació intervàl·lica, utilitzada en l'Alta Edat Mitjana;
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| dbo:abstract | En l'aspecte músical, el terme mode o modo es refereix a: * Un tipus d'escala musical (sobre el que tracta aquest article). * La relació rítmica entre durades llargues i curtes, utilitzat en la Baixa Edat Mitjana; * La relació intervàl·lica, utilitzada en l'Alta Edat Mitjana; (ca) في نظرية الموسيقى الغربية، الوضع الموسيقي (بالإنجليزية: musical mode) هو نوع من السلم الموسيقي مصحوب بمجموعة من السلوكات اللحنية المميزة. كانت الأوضاع الموسيقية جزء من التفكير الموسيقي الغربي منذ العصور الوسطى، وألهمت بنظرية الموسيقى اليونانية القديمة. تشتق كلمة mode من الكلمة اللاتينية modus والتي تعني «قياس، معيار، طريقة، طريق، حجم، اسلوب»(، مقدمة; قاموس أكسفورد الإنجليزي). مقابل الوضع في الموسيقى العربية هو المقام. (ar) Jako modus (lat. "způsob") se ve středověké hudební teorii označoval tónorod, tj. konkrétní rozložení půltónů a celých tónů v rámci oktávy (srv. dva dnešní tónorody: dur a moll). Každý modus byl kromě této intervalové struktury charakterizován svým určeným základním tónem (finalis, závěrečný tón melodie, srv. dnešní tóniku), hlavním tónem (tenor, tuba, repercussio, volně odpovídá dnešní dominantě), rozsahem a typickými melodickými obraty. Všechny mody se uplatňovaly v rámci jednoho diatonického systému (zhruba odpovídajícího bílým klávesám moderního klavíru), nejsou to tedy tóniny v dnešním slova smyslu. V nejstarších popisech z 9. století se mody označovaly řeckými číslovkami: * protus s finálou na tónu d, * deuterus s finálou na tónu e, * tritus s finálou na tónu f, * tetrardus s finálou na tónu g. Modů bylo celkem osm, protože každý modus měl verzi autentickou (modus authenticus nebo authentus) a plagální (modus plagalis), která se od verze autentické lišila posunutým rozsahem (nejnižší i nejvyšší tón každého plagálního modu ležel o kvartu níž než u příslušného modu autentického), odlišnou polohou "tenoru" a odlišnými melodickými modely. Tónový materiál každého modu uspořádaný vzestupně tvoří příslušnou církevní stupnici. V 9.–10. stol. byly pro mody převzaty názvy řeckých stupnic (avšak nesprávně: řecká dórská stupnice vycházela z tónu e, církevní dórská stupnice z tónu d): * dórská od tónu d, * frygická od e, * lydická od f, * mixolydická od g. Plagální mody se označovaly jako hypodórský, hypofrygický, hypolydický, hypomixolydický. V 16. stol. připojil Glareanus stupnici * iónskou od tónu c (dnešní dur) a * aiolskou od tónu a (dnešní diatonická moll). (cs) Ο τρόπος είναι σύστημα οκτώ επτάτονων κλιμάκων, που διέφεραν μεταξύ τους ανάλογα με τη θέση που κατείχαν τα ημιτόνια (σε σχέση με τους τόνους) μέσα στην οκτάβα. Η οκτάβα ξεκινά από μία νότα και καταλήγει στην ίδια νότα, για παράδειγμα: "ντο ρε μι φα σολ λα σι ντο". Οι τρόποι εξακολουθούν ως σήμερα να αποτελούν τη βάση του ισόρρυθμου μέλους. Παλιότερα υποστηριζόταν πως ο Άγιος Αμβρόσιος είχε καθιερώσει τους τέσσερις πρώτους τρόπους του ισόρρυθμου μέλους που σε ανάμνησή του ονομάστηκαν και "αμβροσιανοί". Σήμερα όμως οι μελετητές τοποθετούν την καθιέρωσή τους σε μεταγενέστερη εποχή. Ακόμα θεωρούν ότι η ταύτισή τους με την ελληνική μουσική έγινε ακόμα πιο αργά. Οι τέσσερις τρόποι μαζί με τον αντίστοιχο τους "πλάγιο" τρόπο που χρησιμοποιεί σε κάθε περίπτωση την ίδια τονική αλλά διαφορετική έκταση είναι: 1. * Ο Δώριος τρόπος με τον Υποδώριο 2. * Ο Φρύγιος τρόπος με τον Υποφρύγιο 3. * Ο Λύδιος τρόπος με τον Υπολύδιο 4. * Ο Μιξολύδιος τρόπος με τον Υπομιξολύδιο Τα ελληνικά ονόματα που συνδέονται με αυτούς τους ήχους μας προκαλούν σύγχυση, επειδή δεν γνωρίζουμε με απόλυτη βεβαιότητα τι αντιπροσώπευαν στην αρχαιότητα. Τα σύγχρονα βιβλία του ισόρρυθμου μέλους, για να προσδιορίσουν τους τρόπους περιορίζονται στη χρήση αριθμών. Ωστόσο, τα ελληνικά ονόματα, αν και παραπλανητικά, έχουν ενσωματωθεί στην τρέχουσα μουσική ορολογία. (el) Modale Tonleitern, auch modale Skalen oder kurz Modi (Einzahl Modus, aus lateinisch modus, „Maß“, „Einheit“, „Regel“, „Vorschrift“, „Art“, „Weise“, „Melodie“, „Ton“) sind * Tonleitern, die Namen und Tonvorrat der alten europäischen Modi (Kirchentonarten, Kirchentöne) übernehmen, ohne jedoch die weiteren in der alten Musik wichtigen Eigenschaften der Kirchentöne (Ambitus, Finalis, Repercussa, Unterscheidung authentisch/plagal) zu berücksichtigen. Die kirchentonalen Modi werden im Folgenden auch als Kirchentonleitern bezeichnet * nicht auf dem Dur-Moll-System beruhende „exotische“ Tonleitern (z. B. modale Tonleitern im modalen Jazz und in orientalischer Musik). (de) En gamo la aranĝo de kvin plentonoj kaj du duontonoj inter la sinsekvaj tonoj determinas modalon. En la eŭropa muzik-tradicio oni konas la uzon de jenaj modaloj, kiuj fariĝis aŭtentaj modaloj en la mezepoka muziko: Doria modalo (D E F G A B C)Frigia modalo (E F G A B C D)Lidia modalo (F G A B C D E)Miksolidia modalo (G A B C D E F) Ili konsistas el du kvar-notaj gametoj (mlat. tetrachordus) jam konataj en la antikveco. Kiam la supra kvar notoj estas metataj antaŭe, ne perdante la originan tonalan centron (lat. finalis, fino), oni obtenas la plagalajn modalojn (por kadencoj): Hipodoria modalo (A B C D E F G)Hipofrigia modalo (B C D E F G A) (C D E F G A B) (D E F G A B C) En la jaro 1547, la svisa erudiciulo Glareano aldonis kvar ceteraj modaloj: Eolia modalo (A B C D E F G)Ionia modalo (C D E F G A B)Hipoeolia (E F G A B C D)Hipoionia (G A B C D E F) El la eolia kaj ionia modaloj evoluis respektive la modernaj minora kaj maĵora gamoj. En malnova eklezia muziko, en kelkaj specoj de popolmuziko kaj en moderna ĵazo modaloj ludas gravan rolon. Ekzemple en la hispana flamenko oni ofte uzas la lidian modalon; Miles Davis, la "patro" de la modala ĵazo, verkis sian komponaĵon "So What" subaze de la doria modalo. (eo) Teoria musikalean modua zenbait adiera ditu, testuinguruaren arabera: * antzinako musika-sistemetan erabiltzen diren melodiaren musika eskala eta -arauei egiten die erreferentzia, batez ere kantu lauetan erabiltzen diren Erdi Aroko moduei (kantu gregorianoa, adibidez). * zortzidun baten barnean notak tonu eta tonuerdien segida desberdinen arabera antolaturik dauden segidetako bakoitza. Moduak garai, kultura eta musika-genero askotan erabili eta erabiltzen dira. * Bitarteen segida. (eu) In music theory, the term mode or modus is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. (Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek tonoi do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system of the Notre-Dame school at the turn of the 12th century. In the mensural notation that emerged later, modus specifies the subdivision of the longa. Outside of Western classical music, "mode" is sometimes used to embrace similar concepts such as Octoechos, maqam, pathet etc. (see below). (en) El término modo musical se refiere a: * un tipo de escala musical (acerca del cual trata este artículo). * la relación rítmica entre duraciones largas y cortas, utilizado en la Baja Edad Media. * la relación interválica, utilizado en la Alta Edad Media. (es) Le mode, en musique, est un type d'échelle musicale couplé avec un ensemble de comportements mélodiques caractéristiques, notamment en relation avec une note de référence (appelée « finale », « tonique », « note nominale » ou tout simplement « note de référence »). Le terme « mode » a été utilisé dans la théorie musicale occidentale depuis le Moyen Âge pour désigner des caractéristiques (1) du chant grégorien ; (2) de la polyphonie de la Renaissance ; (3) de la musique tonale. Au XXe siècle, sa signification a été étendue pour décrire des caractéristiques de musiques de Méditerranée orientale (maqâm), puis d'Asie (râga indien, dastgâh perse, pathet javanais, cho japonais, tyao chinois, etc.). Il est utilisé aujourd'hui aussi dans la théorie de musiques occidentales modernes, notamment du jazz. (fr) Nella teoria musicale, un modo è un insieme ordinato di intervalli derivato da una corrispondente scala variando semplicemente la nota iniziale. (it) 旋法（せんぽう、英語：musical mode、モード）とは、旋律の背後に働く音の力学である。一般に旋法は音階を用いて記述されるので、音階と混同されがちであるが、音階が単に音を音高により昇順あるいは降順にならべたものであるのに対し、旋法は主音あるいは中心音、終止音、音域などの規定を含む。旋法は特殊化した音階、あるいは一般化した旋律として定義できる。 (ja) 선법(旋法)은 음악에서 음계, 으뜸음, 중심음, 종지음, 음역의 전개방법을 말한다. 그것의 가장 일반적인 용도는 일련의 특징적인 멜로디 및 조화적 행동과 결합된 음계의 한 종류로 설명될 수 있다. 이는 7가지 선법에 적용된다. (ko) Onder modaliteit wordt het gebruik van modi verstaan (Latijn: modus = wijze, de wijze waarop de diatonische hele en halve tonen worden geordend t.o.v. de finalis en elkaar). Het woord modi wordt vaak gebruikt als men verwijst naar de gebruikelijke kerkmodi of toonsoorten met bijhorende toonladders van het gregoriaans tot op vandaag: eolisch, ionisch, dorisch, frygisch, lydisch en mixolydisch. Deze toonsoorten of modi komen voor als authentieke modus of als plagale modus (ofwel hypomodus). In het laatste geval bevindt de finalis (slotnoot) zich in het midden van de toonladder. Onder modaliteit resulteert ook de muziek of de muziekpassage die getuigt van modaal-functionele harmonie en/of melodie.Modaal-functionele harmonie en/of melodie maakt veelal gebruik van de kerkmodi.Bij modaal-functionele harmonie spreekt men van 'verlinksen' omdat de subdominant zich in de kwintencirkel links van de tonica bevindt en de relatie S-T (hoofdfuncties subdominant-tonica) primeert. In die zin spreken we ook van tussensubdominanten, zie bijvoorbeeld sommige muziek van J. Brahms. Kerktoonladders zijn heptatonische toonreeksen, wat wil zeggen dat ze uit zeven tonen bestaan. In de geschiedenis van de klassieke muziek in brede betekenis (niet verwijzend naar het classicisme) werden onderstaande modi gebruikt. De namen waren ontleend aan de oude Griekse muziektheorie, en stonden elk voor een landstreek in Griekenland: De meeste wereldmuziek heeft een modaal karakter. (nl) Na música, no contexto da teoria musical, o Modo musical refere-se a forma de uma escala musical baseado na característica da terceira nota desta; se a terceira nota for maior, então o modo da escala será maior, mas se for menor, então o modo é menor. Na música, no contexto da Harmonia modal, o Modo musical também se refere ao conjunto de escalas com diferentes organizações intervalares/organizações sonoras criadas conforme a cultura de algumas regiões da Grécia Antiga, chamadas de Modos gregos (Jônio, Lídio, Mixolídio, Dórico, Frígio, Eólio e, Lócrio), que foram reusados na improvisação jazzística no início do século XX. Em música, modo é um conjunto ordenado de intervalos musicais que define as relações hierárquicas entre os vários graus de uma escala correspondente. É falsa a ideia de se utilizar o termo modo para tratar apenas da música medieval e renascentista, em oposição ao termo tonalidade para a música mais recente. A música modal, ainda hoje, é muito valorizada e nunca perdeu seu posto como expressão forte na música popular de diversas culturas. Passou ainda por um grande reavivamento na música erudita, com os compositores de vertentes nacionalistas, nos séculos XIX e XX. (pt) I musikaliska sammanhang menas med modus ett , vanligen kyrkotonarterna (de modala skalorna) men i nyare musikvetenskap motsvarande tonskalor eller formler i "" och som folkmusik, exempelvis . Även inom modern modal jazz är modala skalor centrala. (sv) Лад (лат. modus, грец. harmoniae) — доцільно впорядкована інтонаційна система висотних зв'язків музичних звуків, їх закономірна послідовність, а також структура взаємних зв'язків ступенів звукоряду. (uk) 调式是若干个以特定順序連接起來的音以一個主音為中心形成的集合。这些音互相之间具有某种特定的音程关系，并在调式中担任不同的角色。调式是决定音乐风格最重要的因素之一。调式和调性結合，决定了該段音乐所用的调。将调式中的所有的音从主音开始，按照音高从低到高排成一列，就是该调式的音阶。 调式的种类繁多，不仅仅是构成调式的音的关系不同，连数目也有区别，世界各国遍用的大调式、小调式和民族调式。否定調式的音樂稱為無調性音樂。 (zh) Лад — одно из главных понятий русской музыкальной науки, центральное понятие в учении о гармонии. Чаще всего слово «лад» употребляют по отношению к двум тональным ладам — мажору и минору («мажорный лад», «минорный лад»). «Ладами» упрощённо называют (по принципу «часть вместо целого») звукоряды западных и восточных модальных ладов — натуральных (например, «джазовая импровизация в лидийском ладу» подразумевается — на основе звукоряда лидийского лада), церковных, традиционных восточных (макама, раги и других). (ru) |
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| dbp:caption | Diatonic major scale on C, a "white note" scale (en) The modern modes on C (en) The modern Aeolian mode on A (en) The modern Dorian mode on D (en) The modern Ionian mode on C (en) The modern Locrian mode on B (en) The modern Lydian mode on F (en) The modern Mixolydian mode on G (en) The modern Phrygian mode on E (en) The three genera of the Dorian octave species on E (en) |
| dbp:content | 345600.0 { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 e4 f g a b c d e } } (en) { \override Score.TimeSignature #'stencil = ##f \relative c'' { \clef treble \time 7/4 a4 b c d e f g a } } (en) { \key c \dorian \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 c4^\markup { Dorian mode, II, on C } d es f g a bes c } } { \override Score.TimeSignature #'stencil = ##f \key c \phrygian \relative c' { \clef treble \time 7/4 c4^\markup { Phrygian mode, III, on C } des es f g aes bes c } } { \override Score.TimeSignature #'stencil = ##f \key c \lydian \relative c' { \clef treble \time 7/4 c4^\markup { Lydian mode, IV, on C } d e fis g a b c } } { \override Score.TimeSignature #'stencil = ##f \key c \mixolydian \relative c' { \clef treble \time 7/4 c4^\markup { Mixolydian mode, V, on C } d e f g a bes c } } { \override Score.TimeSignature #'stencil = ##f \key c \aeolian \relative c' { \clef treble \time 7/4 c4^\markup { Aeolian mode, VI, on C } d es f g aes bes c } } { \override Score.TimeSignature #'stencil = ##f \key c \locrian \relative c' { \clef treble \time 7/4 c4^\markup { Locrian mode, VII, on C } des es f ges aes bes c } } (en) { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 e4^\markup { Enharmonic genus } feh geses a b ceh deses e } } { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 e4^\markup { Chromatic genus } f ges a b c des e } } { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 e4^\markup { Diatonic genus } f g a b c d e } } (en) { \override Score.TimeSignature #'stencil = ##f \relative c'' { \clef treble \time 7/4 b4c d e f g a b } } (en) { \override Score.TimeSignature #'stencil = ##f \relative c'' { \clef treble \time 7/4 g4 a b c d e f g } } (en) { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 f4 g a b c d e f } } (en) |
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| dbp:reference | Smith, Charlotte . A Manual of Sixteenth-Century Contrapuntal Style. Newark: University of Delaware Press; London: Associated University Presses. . (en) Hiley, David . "Mode". The Oxford Companion to Music, edited by Alison Latham. Oxford and New York: Oxford University Press. . (en) Nikodēmos ’Agioreitēs [St Nikodemos of the Holy Mountain] . ’Eortodromion: ētoi ’ermēneia eis tous admatikous kanonas tōn despotikōn kai theomētorikōn ’eortōn, edited by Benediktos Kralidēs. Venice: N. Gluku. Reprinted, Athens: H.I. Spanos, 1961. (en) Mathiesen, Thomas J. . "Tonos". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en) Barton, Louis W. G. . "§ Influence of Byzantium on Western Chant". The Neume Notation Project: Research in Computer Applications to Medieval Chant. (en) Chafe, Eric Thomas . Monteverdi’s Tonal Language. New York: Schirmer Books. . (en) Bélis, Annie . "Aristoxenus". Grove Music Online. . (en) Anderson, Warren, and Thomas J. Mathiesen . "Ethos". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en) Cott, Jonathan . Stockhausen: Conversations with the Composer. New York: Simon and Schuster. . (en) Pratt, Waldo Selden . The History of Music: A Handbook and Guide for Students. New York: G. Schirmer. (en) Mathiesen, Thomas J. . Aristides Quintilianus. On Music. Translated by Thomas J. Mathiesen. New Haven and London: Yale University Press. (en) Vieru, Anatol . "Modalism – A 'Third World'". Perspectives of New Music 24, no. 1 : 62–71. (en) Carroll, Nansi . The Walden School Musicianship Course: A Manual for Teachers. Dublin, New Hampshire, and San Francisco: The Walden School. (en) Boyden, David D. . "Manual of Counterpoint". Carl Fischer. . (en) Mathiesen, Thomas J. . "Harmonia ". The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en) Dahlhaus, Carl . Untersuchungen über die Entstehung der harmonischen Tonalität. Kassel. (en) Glareanus, Henricus . Dodecachordon, Volume 1, translated by Clement Albin Miller. Musicological Studies and Documents 6. [Rome]: American Institute of Musicology. (en) Fallows, David . "Tenor §1". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en) Gómez, Francisco, José Miguel Díaz-Báñez, Emilia Gómez, and Joaquin Mora . "Flamenco Music and Its Computational Study". In Proceedings of Bridges 2014: Mathematics, Music, Art, Architecture, Culture, edited by Gary Greenfield, George Hart, and Reza Sarhangi, 119–126. Phoenix, Arizona: Tessellations Publishing. . (en) Palisca, Claude V. . "Introductory Notes on the Historiography of the Greek Modes". The Journal of Musicology 3, no. 3 : 221–228. . (en) Bower, Calvin M. . "The Modes of Boethius". The Journal of Musicology 3, no. 3 : 252–263. . (en) Samson, Jim . Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920. Oxford & New York: Oxford University Press. . (en) Wiering, Frans . The Language of the Modes: Studies in the History of Polyphonic Modality. Breukelen: Frans Wiering. (en) Curtis, Liane . "Mode". In Companion to Medieval and Renaissance Music, edited by Tess Knighton and David Fallows,. Berkeley: University of California Press. . (en) Carver, Anthony F. . "Bruckner and the Phrygian Mode". Music & Letters 86, no. 1:74–99. (en) Dahlhaus, Carl . Studies on the Origin of Harmonic Tonality. Princeton, New Jersey: Princeton University Press. . (en) Marx, Adolf Bernhard . The School of Musical Composition, translated from the fourth edition of the original German by August Heinrich Wehrhan. London: Robert Cocks and Co.; Leipzig: Breitkopf and Härtel. (en) Barbera, André . "Octave Species". The Journal of Musicology 3, no. 3 : 229–241. (en) Meier, Bernhard . Alte Tonarten: dargestellt an der Instrumentalmusik des 16. und 17. Jahrhunderts. Kassel: (en) Levine, Mark . The Jazz Theory Book. Petaluma, California: Sher Music Co. . (en) Barker, Andrew . Greek Musical Writings. 2 vols. Cambridge & New York: Cambridge University Press. . (en) Anon. . "Plain-song". Chambers's Encyclopaedia: A Dictionary of Universal Knowledge, new edition. Volume 8: Peasant to Roumelia. London and Edinburgh: William & Robert Chambers, Ltd.; Philadelphia: J. B. Lippincott Co. (en) Plato . The Republic of Plato, 2 vols., edited with critical notes, commentary, and appendices by James Adam. Cambridge: University Press. (en) Cleonides . "Harmonic Introduction," translated by Oliver Strunk. In Source Readings in Music History, vol. 1 , edited by Oliver Strunk, 34–46. New York: W. W. Norton & Co. (en) West, Martin L. . Ancient Greek Music. Oxford and New York: Oxford University Press . (en) Hoppin, Richard . Medieval Music. The Norton Introduction to Music History. New York: Norton. . (en) Jones, George Thaddeus . Music Theory. Barnes & Noble College Outline Series 137. New York: Barnes & Noble Books. . (en) Taylor, John . The Student's Text-book of the Science of Music. London and Liverpool: George Philip and Son. (en) Rockstro, W[illiam] S[myth] . "Modes, the Ecclesiastical". A Dictionary of Music and Musicians , by Eminent Writers, English and Foreign, vol. 2, edited by George Grove, D. C. L., 340–343. London: Macmillan. (en) Palisca, Claude V. . Music and Ideas in the Sixteenth and Seventeenth Centuries. Studies in the History of Music Theory and Literature 1. Urbana and Chicago: University of Illinois Press. . (en) Serna, Desi . Guitar Theory for Dummies. Hoboken, New Jersey: John Wiley & Sons. (en) Mathiesen, Thomas J. . "Greece, §I: Ancient". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en) Porter, James . "Mode §IV: Modal Scales and Traditional Music". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en) Solomon, Jon . "Towards a History of Tonoi". The Journal of Musicology 3, no. 3 : 242–251. . (en) Powers, Harold S. . "Mode". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en) Cooper, Peter . Mel Bay's Complete Irish Fiddle Player. Pacific, Missouri: Mel Bay Publications. . (en) Meier, Bernhard . Die Tonarten der klassischen Vokalpolyphonie: nach den Quellen dargestellt. Utrecht. (en) Winnington-Ingram, Reginald Pepys . Mode in Ancient Greek Music. Cambridge Classical Studies. Cambridge: Cambridge University Press. Reprinted, Amsterdam: Hakkert, 1968. (en) |
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| rdfs:comment | En l'aspecte músical, el terme mode o modo es refereix a: * Un tipus d'escala musical (sobre el que tracta aquest article). * La relació rítmica entre durades llargues i curtes, utilitzat en la Baixa Edat Mitjana; * La relació intervàl·lica, utilitzada en l'Alta Edat Mitjana; (ca) في نظرية الموسيقى الغربية، الوضع الموسيقي (بالإنجليزية: musical mode) هو نوع من السلم الموسيقي مصحوب بمجموعة من السلوكات اللحنية المميزة. كانت الأوضاع الموسيقية جزء من التفكير الموسيقي الغربي منذ العصور الوسطى، وألهمت بنظرية الموسيقى اليونانية القديمة. تشتق كلمة mode من الكلمة اللاتينية modus والتي تعني «قياس، معيار، طريقة، طريق، حجم، اسلوب»(، مقدمة; قاموس أكسفورد الإنجليزي). مقابل الوضع في الموسيقى العربية هو المقام. (ar) Modale Tonleitern, auch modale Skalen oder kurz Modi (Einzahl Modus, aus lateinisch modus, „Maß“, „Einheit“, „Regel“, „Vorschrift“, „Art“, „Weise“, „Melodie“, „Ton“) sind * Tonleitern, die Namen und Tonvorrat der alten europäischen Modi (Kirchentonarten, Kirchentöne) übernehmen, ohne jedoch die weiteren in der alten Musik wichtigen Eigenschaften der Kirchentöne (Ambitus, Finalis, Repercussa, Unterscheidung authentisch/plagal) zu berücksichtigen. Die kirchentonalen Modi werden im Folgenden auch als Kirchentonleitern bezeichnet * nicht auf dem Dur-Moll-System beruhende „exotische“ Tonleitern (z. B. modale Tonleitern im modalen Jazz und in orientalischer Musik). (de) Teoria musikalean modua zenbait adiera ditu, testuinguruaren arabera: * antzinako musika-sistemetan erabiltzen diren melodiaren musika eskala eta -arauei egiten die erreferentzia, batez ere kantu lauetan erabiltzen diren Erdi Aroko moduei (kantu gregorianoa, adibidez). * zortzidun baten barnean notak tonu eta tonuerdien segida desberdinen arabera antolaturik dauden segidetako bakoitza. Moduak garai, kultura eta musika-genero askotan erabili eta erabiltzen dira. * Bitarteen segida. (eu) El término modo musical se refiere a: * un tipo de escala musical (acerca del cual trata este artículo). * la relación rítmica entre duraciones largas y cortas, utilizado en la Baja Edad Media. * la relación interválica, utilizado en la Alta Edad Media. (es) Nella teoria musicale, un modo è un insieme ordinato di intervalli derivato da una corrispondente scala variando semplicemente la nota iniziale. (it) 旋法（せんぽう、英語：musical mode、モード）とは、旋律の背後に働く音の力学である。一般に旋法は音階を用いて記述されるので、音階と混同されがちであるが、音階が単に音を音高により昇順あるいは降順にならべたものであるのに対し、旋法は主音あるいは中心音、終止音、音域などの規定を含む。旋法は特殊化した音階、あるいは一般化した旋律として定義できる。 (ja) 선법(旋法)은 음악에서 음계, 으뜸음, 중심음, 종지음, 음역의 전개방법을 말한다. 그것의 가장 일반적인 용도는 일련의 특징적인 멜로디 및 조화적 행동과 결합된 음계의 한 종류로 설명될 수 있다. 이는 7가지 선법에 적용된다. (ko) I musikaliska sammanhang menas med modus ett , vanligen kyrkotonarterna (de modala skalorna) men i nyare musikvetenskap motsvarande tonskalor eller formler i "" och som folkmusik, exempelvis . Även inom modern modal jazz är modala skalor centrala. (sv) Лад (лат. modus, грец. harmoniae) — доцільно впорядкована інтонаційна система висотних зв'язків музичних звуків, їх закономірна послідовність, а також структура взаємних зв'язків ступенів звукоряду. (uk) 调式是若干个以特定順序連接起來的音以一個主音為中心形成的集合。这些音互相之间具有某种特定的音程关系，并在调式中担任不同的角色。调式是决定音乐风格最重要的因素之一。调式和调性結合，决定了該段音乐所用的调。将调式中的所有的音从主音开始，按照音高从低到高排成一列，就是该调式的音阶。 调式的种类繁多，不仅仅是构成调式的音的关系不同，连数目也有区别，世界各国遍用的大调式、小调式和民族调式。否定調式的音樂稱為無調性音樂。 (zh) Лад — одно из главных понятий русской музыкальной науки, центральное понятие в учении о гармонии. Чаще всего слово «лад» употребляют по отношению к двум тональным ладам — мажору и минору («мажорный лад», «минорный лад»). «Ладами» упрощённо называют (по принципу «часть вместо целого») звукоряды западных и восточных модальных ладов — натуральных (например, «джазовая импровизация в лидийском ладу» подразумевается — на основе звукоряда лидийского лада), церковных, традиционных восточных (макама, раги и других). (ru) Jako modus (lat. "způsob") se ve středověké hudební teorii označoval tónorod, tj. konkrétní rozložení půltónů a celých tónů v rámci oktávy (srv. dva dnešní tónorody: dur a moll). Každý modus byl kromě této intervalové struktury charakterizován svým určeným základním tónem (finalis, závěrečný tón melodie, srv. dnešní tóniku), hlavním tónem (tenor, tuba, repercussio, volně odpovídá dnešní dominantě), rozsahem a typickými melodickými obraty. Všechny mody se uplatňovaly v rámci jednoho diatonického systému (zhruba odpovídajícího bílým klávesám moderního klavíru), nejsou to tedy tóniny v dnešním slova smyslu. (cs) Ο τρόπος είναι σύστημα οκτώ επτάτονων κλιμάκων, που διέφεραν μεταξύ τους ανάλογα με τη θέση που κατείχαν τα ημιτόνια (σε σχέση με τους τόνους) μέσα στην οκτάβα. Η οκτάβα ξεκινά από μία νότα και καταλήγει στην ίδια νότα, για παράδειγμα: "ντο ρε μι φα σολ λα σι ντο". Οι τρόποι εξακολουθούν ως σήμερα να αποτελούν τη βάση του ισόρρυθμου μέλους. 1. * Ο Δώριος τρόπος με τον Υποδώριο 2. * Ο Φρύγιος τρόπος με τον Υποφρύγιο 3. * Ο Λύδιος τρόπος με τον Υπολύδιο 4. * Ο Μιξολύδιος τρόπος με τον Υπομιξολύδιο (el) En gamo la aranĝo de kvin plentonoj kaj du duontonoj inter la sinsekvaj tonoj determinas modalon. En la eŭropa muzik-tradicio oni konas la uzon de jenaj modaloj, kiuj fariĝis aŭtentaj modaloj en la mezepoka muziko: Doria modalo (D E F G A B C)Frigia modalo (E F G A B C D)Lidia modalo (F G A B C D E)Miksolidia modalo (G A B C D E F) Ili konsistas el du kvar-notaj gametoj (mlat. tetrachordus) jam konataj en la antikveco. Kiam la supra kvar notoj estas metataj antaŭe, ne perdante la originan tonalan centron (lat. finalis, fino), oni obtenas la plagalajn modalojn (por kadencoj): (eo) In music theory, the term mode or modus is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. (Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek tonoi do not otherwise resemble their media (en) Le mode, en musique, est un type d'échelle musicale couplé avec un ensemble de comportements mélodiques caractéristiques, notamment en relation avec une note de référence (appelée « finale », « tonique », « note nominale » ou tout simplement « note de référence »). Le terme « mode » a été utilisé dans la théorie musicale occidentale depuis le Moyen Âge pour désigner des caractéristiques (1) du chant grégorien ; (2) de la polyphonie de la Renaissance ; (3) de la musique tonale. Au XXe siècle, sa signification a été étendue pour décrire des caractéristiques de musiques de Méditerranée orientale (maqâm), puis d'Asie (râga indien, dastgâh perse, pathet javanais, cho japonais, tyao chinois, etc.). Il est utilisé aujourd'hui aussi dans la théorie de musiques occidentales modernes, notamment du (fr) Onder modaliteit wordt het gebruik van modi verstaan (Latijn: modus = wijze, de wijze waarop de diatonische hele en halve tonen worden geordend t.o.v. de finalis en elkaar). Het woord modi wordt vaak gebruikt als men verwijst naar de gebruikelijke kerkmodi of toonsoorten met bijhorende toonladders van het gregoriaans tot op vandaag: eolisch, ionisch, dorisch, frygisch, lydisch en mixolydisch. Deze toonsoorten of modi komen voor als authentieke modus of als plagale modus (ofwel hypomodus). In het laatste geval bevindt de finalis (slotnoot) zich in het midden van de toonladder. (nl) Na música, no contexto da teoria musical, o Modo musical refere-se a forma de uma escala musical baseado na característica da terceira nota desta; se a terceira nota for maior, então o modo da escala será maior, mas se for menor, então o modo é menor. Em música, modo é um conjunto ordenado de intervalos musicais que define as relações hierárquicas entre os vários graus de uma escala correspondente. É falsa a ideia de se utilizar o termo modo para tratar apenas da música medieval e renascentista, em oposição ao termo tonalidade para a música mais recente. (pt) |
| rdfs:label | وضع موسيقي (ar) Mode (música) (ca) Modus (hudba) (cs) Modale Tonleitern (de) Τρόπος (μουσική) (el) Modalo (muziko) (eo) Modo musical (es) Modu (musika) (eu) Mode (musique) (fr) Modo (musica) (it) 선법 (음악) (ko) Mode (music) (en) 旋法 (ja) Modaliteit (muziek) (nl) Modo musical (pt) Лад (музыка) (ru) Modus (musik) (sv) 调式 (zh) Лад (музика) (uk) |
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