Reverted edits by 2604:3D08:9B78:BD40:5453:25DC:A7A0:677 (talk): not providing a reliable source (WP:CITE, WP:RS) (HG) (3.4.12)
Okumaya devam et...
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| ==History== | ==History== |
| The word ''Aeolian'’, which is another name for minor scale, like the names for the other ancient Greek ''tonoi'' and ''harmoniai'', is an ethnic designation: in this case, for the inhabitants of [[Aeolis]] (Αἰολίς)—the Aeolian Islands and adjacent coastal district of [[Asia Minor]].<ref>{{OED |Aeolian}}</ref> In the [[music theory]] of [[ancient Greece]], it was an alternative name (used by some later writers, such as [[Cleonides]]) for what [[Aristoxenus]] called the Low Lydian ''tonos'' (in the sense of a particular overall pitching of the musical system—not a scale), nine semitones higher than the lowest "position of the voice", which was called [[Hypodorian mode|Hypodorian]].<ref>Egert Pöhlmann, Olympia Psychopedis-Frangou, and Rudolf Maria Brandl, "Griechenland", ''[[Die Musik in Geschichte und Gegenwart]]'', second, newly compiled edition, edited by [[Ludwig Finscher]], part 1 (Sachteil), vol. 3 (Eng–Hamb) (Kassel & New York: Bärenreiter; Stuttgart: Metzler, 1995), 1652, {{ISBN|978-3-7618-1101-6}} (Bärenreiter); {{ISBN|3-7618-1101-2}} (Bärenreiter); {{ISBN|978-3-476-41000-9}} (Metzler); {{ISBN|3-476-41000-5}} (Metzler); [[Thomas J. Mathiesen]], "Greece, §I: Ancient", ''[[The New Grove Dictionary of Music and Musicians]]'', edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]] (London: Macmillan; New York: Grove's Dictionaries, 2001), 10:339. {{ISBN|0-333-60800-3}}; {{ISBN|1-56159-239-0}}; {{ISBN |978-0-333-60800-5}}; {{ISBN|978-1-56159-239-5}}; {{ISBN|0-19-517067-9}} (set); {{ISBN|978-0-19-517067-2}} (set).</ref> In the mid-16th century, this name was given by [[Heinrich Glarean]] to his newly defined ninth mode, with the [[Diatonic and chromatic|diatonic]] [[octave species]] of the natural notes extending one octave from A to A—corresponding to the modern natural minor scale.<ref name = aeoliani>Harold S. Powers, "Aeolian (i)", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell, 29 volumes (London: Macmillan; New York: Grove's Dictionaries, 2001), 1:{{Page needed |date=August 2010}}. {{ISBN|0-333-60800-3}}; {{ISBN|1-56159-239-0}}; {{ISBN|978-0-333-60800-5}}; {{ISBN|978-1-56159-239-5}}; {{ISBN|0-19-517067-9}} (set); {{ISBN|978-0-19-517067-2}} (set).</ref> Up until this time, chant theory recognized eight [[musical mode]]s: the relative natural scales in D, E, F and G, each with their [[authentic mode|authentic]] and [[plagal mode|plagal]] counterparts, and with the option of B{{music|flat}} instead of B{{music|natural}} in several modes.<ref>Harold S. Powers, "Mode, §II. Medieval Modal Theory, 3: 11th-Century Syntheses, (i) Italian Theory of Modal Functions, (b) Ambitus." ''The New Grove Dictionary of Music and Musicians'', edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001){{Page needed|date=August 2010}} (Example 5). {{ISBN|0-333-60800-3}}; {{ISBN|1-56159-239-0}}; {{ISBN|978-0-333-60800-5}}; {{ISBN|978-1-56159-239-5}}; {{ISBN|0-19-517067-9}} (set); {{ISBN|978-0-19-517067-2}} (set).</ref> | The word ''Aeolian'', like the names for the other ancient Greek ''tonoi'' and ''harmoniai'', is an ethnic designation: in this case, for the inhabitants of [[Aeolis]] (Αἰολίς)—the Aeolian Islands and adjacent coastal district of [[Asia Minor]].<ref>{{OED |Aeolian}}</ref> In the [[music theory]] of [[ancient Greece]], it was an alternative name (used by some later writers, such as [[Cleonides]]) for what [[Aristoxenus]] called the Low Lydian ''tonos'' (in the sense of a particular overall pitching of the musical system—not a scale), nine semitones higher than the lowest "position of the voice", which was called [[Hypodorian mode|Hypodorian]].<ref>Egert Pöhlmann, Olympia Psychopedis-Frangou, and Rudolf Maria Brandl, "Griechenland", ''[[Die Musik in Geschichte und Gegenwart]]'', second, newly compiled edition, edited by [[Ludwig Finscher]], part 1 (Sachteil), vol. 3 (Eng–Hamb) (Kassel & New York: Bärenreiter; Stuttgart: Metzler, 1995), 1652, {{ISBN|978-3-7618-1101-6}} (Bärenreiter); {{ISBN|3-7618-1101-2}} (Bärenreiter); {{ISBN|978-3-476-41000-9}} (Metzler); {{ISBN|3-476-41000-5}} (Metzler); [[Thomas J. Mathiesen]], "Greece, §I: Ancient", ''[[The New Grove Dictionary of Music and Musicians]]'', edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]] (London: Macmillan; New York: Grove's Dictionaries, 2001), 10:339. {{ISBN|0-333-60800-3}}; {{ISBN|1-56159-239-0}}; {{ISBN |978-0-333-60800-5}}; {{ISBN|978-1-56159-239-5}}; {{ISBN|0-19-517067-9}} (set); {{ISBN|978-0-19-517067-2}} (set).</ref> In the mid-16th century, this name was given by [[Heinrich Glarean]] to his newly defined ninth mode, with the [[Diatonic and chromatic|diatonic]] [[octave species]] of the natural notes extending one octave from A to A—corresponding to the modern natural minor scale.<ref name = aeoliani>Harold S. Powers, "Aeolian (i)", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell, 29 volumes (London: Macmillan; New York: Grove's Dictionaries, 2001), 1:{{Page needed |date=August 2010}}. {{ISBN|0-333-60800-3}}; {{ISBN|1-56159-239-0}}; {{ISBN|978-0-333-60800-5}}; {{ISBN|978-1-56159-239-5}}; {{ISBN|0-19-517067-9}} (set); {{ISBN|978-0-19-517067-2}} (set).</ref> Up until this time, chant theory recognized eight [[musical mode]]s: the relative natural scales in D, E, F and G, each with their [[authentic mode|authentic]] and [[plagal mode|plagal]] counterparts, and with the option of B{{music|flat}} instead of B{{music|natural}} in several modes.<ref>Harold S. Powers, "Mode, §II. Medieval Modal Theory, 3: 11th-Century Syntheses, (i) Italian Theory of Modal Functions, (b) Ambitus." ''The New Grove Dictionary of Music and Musicians'', edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001){{Page needed|date=August 2010}} (Example 5). {{ISBN|0-333-60800-3}}; {{ISBN|1-56159-239-0}}; {{ISBN|978-0-333-60800-5}}; {{ISBN|978-1-56159-239-5}}; {{ISBN|0-19-517067-9}} (set); {{ISBN|978-0-19-517067-2}} (set).</ref> |
| In 1547, [[Henricus Petrus|Heinrich Petri]] published [[Heinrich Glarean]]'s ''Dodecachordon'' in Basel.<ref>Clement A. Miller, "Glarean, Heinrich [Glareanus, Henricus; Loriti]", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]] (London: Macmillan, 2001).</ref> His premise had as its central idea the existence of twelve [[diatonic]] modes rather than eight, including a separate pair of modes each on the finals A and C.<ref>Clement A. Miller, "Glarean, Heinrich [Glareanus, Henricus; Loriti]", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]] (London: Macmillan, 2001); Harold S. Powers, "Mode, §III. Modal Theories and Polyphonic Music, 4: Systems of 12 Modes, (ii): Glarean's 12 Modes." ''The New Grove Dictionary of Music and Musicians'', edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001).</ref> Finals on these notes, as well as on B{{music|natural}}, had been recognized in chant theory at least since [[Hucbald]] in the early tenth century, but they were regarded as merely transpositions from the regular finals a fifth lower. In the eleventh century, [[Guido d'Arezzo]], in chapter 8 of his ''Micrologus'', designated these transposed finals A, B{{music|natural}}, and C as "affinals", and later still the term "confinal" was used in the same way.<ref>Harold S. Powers, "Mode, §II. Medieval Modal Theory, 2. Carolingian Synthesis, 9th–10th Centuries, (i) The Boethian Double Octave and the Modes, (b) Tetrachordal Degrees and Modal Quality." ''The New Grove Dictionary of Music and Musicians'', edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001). {{ISBN|0-333-60800-3}}; {{ISBN|1-56159-239-0}}; {{ISBN|978-0-333-60800-5}}; {{ISBN|978-1-56159-239-5}}; {{ISBN|0-19-517067-9}} (set); {{ISBN|978-0-19-517067-2}} (set).</ref> In 1525, [[Pietro Aaron]] was the first theorist to explain polyphonic modal usage in terms of the eightfold system, including these transpositions.<ref>Harold S. Powers, "Is Mode Real? Pietro Aron, the Octenary System, and Polyphony", ''Basler Jahrbuch für historische Musikpraxis'' 16 (1992): 9–52.</ref> As late as 1581, Illuminato Aiguino da Brescia published the most elaborate theory defending the eightfold system for polyphonic music against Glarean's innovations, in which he regarded the traditional plainchant modes 1 and 2 ([[Dorian mode|Dorian]] and Hypodorian) at the affinal position (that is, with their finals on A instead of D) as a composite of species from two modes, which he described as "mixed modes".<ref>Harold S. Powers, "Mode, III: Modal Theories and Polyphonic Music, 3: Polyphonic Modal Theory and the Eightfold System, (ii) Composite Modes," ''The New Grove Dictionary of Music and Musicians'', edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001){{Page needed|date=August 2010}}. {{ISBN|0-333-60800-3}}; {{ISBN|1-56159-239-0}}; {{ISBN|978-0-333-60800-5}}; {{ISBN|978-1-56159-239-5}}; {{ISBN|0-19-517067-9}} (set); {{ISBN|978-0-19-517067-2}} (set).</ref> Glarean added ''Aeolian'' as the name of the ''new'' ninth mode: the relative natural mode in A with the [[perfect fifth]] as its dominant, [[reciting tone|reciting tone, reciting note]], or ''tenor''. The tenth mode, the plagal version of the Aeolian mode, Glarean called ''Hypoaeolian'' ("under Aeolian"), based on the same relative scale, but with the [[minor third]] as its tenor, and having a melodic range from a [[perfect fourth]] below the tonic to a [[perfect fifth]] above it. | In 1547, [[Henricus Petrus|Heinrich Petri]] published [[Heinrich Glarean]]'s ''Dodecachordon'' in Basel.<ref>Clement A. Miller, "Glarean, Heinrich [Glareanus, Henricus; Loriti]", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]] (London: Macmillan, 2001).</ref> His premise had as its central idea the existence of twelve [[diatonic]] modes rather than eight, including a separate pair of modes each on the finals A and C.<ref>Clement A. Miller, "Glarean, Heinrich [Glareanus, Henricus; Loriti]", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]] (London: Macmillan, 2001); Harold S. Powers, "Mode, §III. Modal Theories and Polyphonic Music, 4: Systems of 12 Modes, (ii): Glarean's 12 Modes." ''The New Grove Dictionary of Music and Musicians'', edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001).</ref> Finals on these notes, as well as on B{{music|natural}}, had been recognized in chant theory at least since [[Hucbald]] in the early tenth century, but they were regarded as merely transpositions from the regular finals a fifth lower. In the eleventh century, [[Guido d'Arezzo]], in chapter 8 of his ''Micrologus'', designated these transposed finals A, B{{music|natural}}, and C as "affinals", and later still the term "confinal" was used in the same way.<ref>Harold S. Powers, "Mode, §II. Medieval Modal Theory, 2. Carolingian Synthesis, 9th–10th Centuries, (i) The Boethian Double Octave and the Modes, (b) Tetrachordal Degrees and Modal Quality." ''The New Grove Dictionary of Music and Musicians'', edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001). {{ISBN|0-333-60800-3}}; {{ISBN|1-56159-239-0}}; {{ISBN|978-0-333-60800-5}}; {{ISBN|978-1-56159-239-5}}; {{ISBN|0-19-517067-9}} (set); {{ISBN|978-0-19-517067-2}} (set).</ref> In 1525, [[Pietro Aaron]] was the first theorist to explain polyphonic modal usage in terms of the eightfold system, including these transpositions.<ref>Harold S. Powers, "Is Mode Real? Pietro Aron, the Octenary System, and Polyphony", ''Basler Jahrbuch für historische Musikpraxis'' 16 (1992): 9–52.</ref> As late as 1581, Illuminato Aiguino da Brescia published the most elaborate theory defending the eightfold system for polyphonic music against Glarean's innovations, in which he regarded the traditional plainchant modes 1 and 2 ([[Dorian mode|Dorian]] and Hypodorian) at the affinal position (that is, with their finals on A instead of D) as a composite of species from two modes, which he described as "mixed modes".<ref>Harold S. Powers, "Mode, III: Modal Theories and Polyphonic Music, 3: Polyphonic Modal Theory and the Eightfold System, (ii) Composite Modes," ''The New Grove Dictionary of Music and Musicians'', edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001){{Page needed|date=August 2010}}. {{ISBN|0-333-60800-3}}; {{ISBN|1-56159-239-0}}; {{ISBN|978-0-333-60800-5}}; {{ISBN|978-1-56159-239-5}}; {{ISBN|0-19-517067-9}} (set); {{ISBN|978-0-19-517067-2}} (set).</ref> Glarean added ''Aeolian'' as the name of the ''new'' ninth mode: the relative natural mode in A with the [[perfect fifth]] as its dominant, [[reciting tone|reciting tone, reciting note]], or ''tenor''. The tenth mode, the plagal version of the Aeolian mode, Glarean called ''Hypoaeolian'' ("under Aeolian"), based on the same relative scale, but with the [[minor third]] as its tenor, and having a melodic range from a [[perfect fourth]] below the tonic to a [[perfect fifth]] above it. |
Okumaya devam et...