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Topic: Rhythmic modes

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	ORB -- Introduction to Church Modes
		The eight modes (sometimes called church modes or ecclesiastical modes to distinguish them from the rhythmic modes) were defined through a combination of range and final (the final is the note on which a melody ends).
		For instance, the placement of the half-step within the mode (and its distance from the final) was a defining characteristic for the sound of that mode, especially since the actual pitch of the melody was determined by the singer rather than being standardized.
		Mode first began as a method for classifying existing melodies, perhaps as an aid to memorization.
	www.vanderbilt.edu /~cyrus/ORB/orbmode.htm (483 words)

	Rhythmic mode - Wikipedia, the free encyclopedia
		In medieval music, the rhythmic modes were patterns of long and short durations (or rhythms) imposed on written notes which otherwise appeared to be identical.
		The reading and performance of the rhythmic modes was based on context; a singer would know which pattern of long and short to apply to a string of notes from the position of those notes within a phrase, and from an introductory notation at the start of the phrase indicating a mode number.
		Though the use of the rhythmic modes is the most characteristic feature of the music of the Notre Dame school, especially the compositions of Léonin and Pérotin, but they are also predominant in much of the rest of the music of the ars antiqua through about the end of the 13th century.
	en.wikipedia.org /wiki/Rhythmic_mode (577 words)

	Medieval period
		The melodic line, once it had its mode, would generally remain in it, although rhythmic adjustments could be indicated by changes in the expected pattern of ligatures, even to the extent of changing to another rhythmic mode.
		This was the period in which rhythmic notation first appeared in western music, mainly a context-based method of rhythmic notation known as the rhythmic modes.
		The Petronian motet is a highly complex genre, given its mixture of several semibreve breves with rhythmic modes and sometimes (with increasing frequency) substitution of secular songs for chant in the tenor.
	www.infoweb.co.nz /medieval-period (3850 words)

	Medieval music - Wikipedia, the free encyclopedia
		In some ways the modern system of rhythmic notation began with Vitry, who broke free from the older idea of the rhythmic modes, patterns which were repeated without being individually notated.
		This was the period in which rhythmic notation first appeared in western music, mainly a context-based method of rhythmic notation known as the rhythmic modes.
		The Petronian motet is a highly complex genre, given its mixture of several semibreve breves with rhythmic modes and sometime (with increasing frequency) substitution of secular songs for chant in the tenor.
	en.wikipedia.org /wiki/Medieval_music (3670 words)

	AllRefer.com - mode, in music (Music: Theory, Forms, And Instruments) - Encyclopedia
		In the Middle Ages eight modes were developed as a theoretical foundation for plainsong performance, notation, and composition.
		These modes, derived from church practice, and explained either in their own terms, or using terms drawn from ancient Greek music theory, were grouped in pairs, each pair containing an authentic mode and a plagal mode, which are distinguished by the difference in the position of their ranges with respect to the final.
		The use of medieval modes by later composers is called modality in contrast to tonality.
	reference.allrefer.com /encyclopedia/M/mode2.html (581 words)

	Rhythmic mode -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-11-04)
		After recognizing which of the six modes applied to a passage of (Click link for more info and facts about neume) neumes, a singer would generally continue on in that same mode until the end of a phrase, or a (The close of a musical section) cadence.
		Modes were identifiable through the use of ((music) a group of notes connected by a slur) ligatures, which grouped together neumes into clusters.
		There were six rhythmic modes, as first explained in the anonymous treatise of about 1240, De mensurabili musica (formerly attributed to (Click link for more info and facts about Johannes de Garlandia) Johannes de Garlandia, who is now known to have edited it extensively in the late 13th century).
	www.absoluteastronomy.com /encyclopedia/R/Rh/Rhythmic_mode.htm (506 words)

	Rhythmic mode - Definition, explanation
		In medieval music, the rhythmic modes were patterns of long and short durations (or rhythms) imposed on written notes which otherwise appeared to be identical.
		The reading and performance of the rhythmic modes was based on context; a singer would know which pattern of long and short to apply to a string of notes from the position of those notes within a phrase, and from an introductory notation at the start of the phrase indicating a mode number.
		Though the use of the rhythmic modes is the most characteristic feature of the music of the Notre Dame school, especially the compositions of Leonin and Pérotin, but they are also predominant in much of the rest of the music of the ars antiqua through about the end of the 13th century.
	www.calsky.com /lexikon/en/txt/r/rh/rhythmic_mode.php (573 words)

	Olivier Messiaen: Annotated Bibliography
		Dealing with modes, rhythm, magic and other elements, the opening essay which deals with Messiaen's musical language is extremely clear and informative; definitions are given and examples are used which show how the composer used compositional elements in his early works.
		For example, to regard his rhythmic techniques as rules for generating new rhythms, in the manner of a formal grammar, would be foolish; in fact, using his "rules" one can readily generate any rhythm whatsoever as long as its values are multiples of some common smallest value.
		Some of the rhythmic devices used in the Quartet and in Turangalila are examined in detail, and there is in the second article an exhaustive study of the rhythms used in Oiseaux exotiques (1955).
	theory.music.indiana.edu /isaacso/t556/bibliographies/messiaen.html (5621 words)

	Western Music - MSN Encarta
		The same pattern, or mode, was repeated over and over until the composer indicated by a sign in the notation that another rhythmic mode was to supersede it.
		In music using this “modal notation,” a variety of rhythmic movement was achieved by employing different modes simultaneously in different voice parts and by changing modes during the course of a composition.
		Expanding on the principle of short rhythmic modes, composers of ars nova used rhythmic patterns of a dozen or more notes, which they repeated over and over in one or more voice parts of a composition.
	encarta.msn.com /encyclopedia_761551748/Western_Music.html (1752 words)

	musical notation (Site not responding. Last check: 2007-11-04)
		At first, certain patternings of neumes were used to represent the various rhythmic modes; later, in his Ars cantus mensurabilis (c.1280), Franco of Cologne created a clear indication for each note of its exact rhythmic length and selected certain neumes to represent tones of long and short duration.
		At the various rhythmic levels of a given piece either a 2:1 or a 3:1 relationship was implied, and a system of signs and colored notes developed for indicating which relationships were in force or were being temporarily altered.
		Akin to the modes, the concept of key was developed, whereby a home tone, or tonic, is the principal focus of a composition, and the various other tones assume importance according to their relationship to the tonic.
	www.geocities.com /smoke18m/Construction/music.html (11578 words)

	rhythm
		The rhythmic layout in Western classical music, in a wider sense, is quite uniform: The accent in 3/4 is given to the first, and in 4/4 to the first and the third beat of the bar.
		In this respect, the structure of the long rhythmic cycles in classical turco-arabic music appear to us as a direct relation to the influence of poetry and song by their characteristic regular succession of time units, comparable with the succession of the syllables of sung poetry.
		The rhythmic repertoire of the ancient Turks and Arabs consisted of hundreds of rhythms or rhythmic modes, some of them with a large amount of units.
	sonopt.pp.fi /rhythm.html (3442 words)

	Herman Rechberger's Home Page (Site not responding. Last check: 2007-11-04)
		The rhythmic layout in Western classical music, in a wider sense, is quite uniform: The accent in 3/4 is given to the first, and in 4/4 to the first and the third beat of the bar.
		The mode is similiar to the turk samâ°î sarî° and the 2.
		This mode is composed from five submodes: The jiftah duyuk turkî (16/4), the fâHta (20/4), the shanbar turkî (24/4), the dawr kabîr (28/4) and the barifshân turkî (32/4).
	www.dlc.fi /~sonopt/arabrhythm_page.html (8671 words)

	Music Theory-Mode (Site not responding. Last check: 2007-11-04)
		The eight modes of medieval and Renaissance music (often called church or ecclesiastical modes) were scale patterns that formed the foundations of Gregorian chant.
		Except for two modes, known now as the major and minor scales, the church modes fell out of use in cultivated music in the 17th century; closely related scales, however, survived in folk music (see Scale).
		The rhythmic modes fell out of use in the 14th century, when less rigid means of notating rhythms were devised.
	www.geocities.com /musicman110_2000/mode.html (218 words)

	Iranica.com - IQAÚ¿
		A rhythmic mode is formed by adding long and short beats (in terms of note-value) in various combinations.
		In the modern practice of iqa@¿, the character of a given rhythmic mode is emphasized by elaborate playing techniques of drums such as the darabukka (a vase-shaped drum), naqqa@ra (a kind of kettledrum), tÂabl (drum), and daff (q.v., or tÂa@r).
		Actually the beats within a rhythmic mode are articulated on three levels: (1) distance from each other (or duration), (2) stress accent, and (3) timbre.
	www.iranica.com /newsite/articles/v13f2/v13f2019.html (1620 words)

	Composition
		The four original modes as designated by St. Ambrose were known as authentic and the notes upon which they started and finished were D, E, F and G. These initial/terminal notes were known as the finalis of the mode.
		The dominant (reciting) note in a plagal mode was not the fifth in the series as was the case with the authentic mode.
		A rhythmic mode was recognised by the ligature and a singer would continue in the directed fashion until another ligature ordered a different rhythm.
	www.classicol.com /classical.cfm?music=instrumentInfo§ion=Composer&title=Composition (3058 words)

	Music, Western - MSN Encarta
		The internal structure of Greek music was based on a system of modes that combined a scale with special melodic contours and rhythmic patterns.
		Greek philosophers wrote that each mode possessed a specific emotional quality and that listeners would experience this quality on hearing a composition in that mode.
		Expanding on the principle of short rhythmic modes, composers of the ars nova used rhythmic patterns (called talea) of a dozen or more notes, which they repeated over and over in one or more voice parts of a composition.
	uk.encarta.msn.com /encyclopedia_761551748/Music_Western.html (1649 words)

	Essay
		Modality relates illuminatingly to serialism, rhythmic modes relate to rhythmic cycles, harmonic movement to sustained pedals, formal control to a near-improvisatory freedom, dialectic to obsessive repetition, all nearly but not quite breaking the bounds of the work’s clearly-defined structural premisses.
		There were some rhythmic implications in their tension-patterns, on the basis that the more interesting colours should be given the longer values, especially in the ‘feminine’ sequences, with a slight inclination towards consonance in the long values for ‘young masculine’, and towards dissonance in the same values for ‘masculine’.
		Rhythmically and texturally it wanted to be very simple but very fast, very possibly maintaining the same tempo from beginning to end.
	www.anthonygilbert.net /essay.html (8360 words)

	ORB: The Online Reference Book for Medieval Studies--Medieval Music Glossary
		Mensural music is distinct from music employing the rhythmic modes in which the context-dependent notation limited rhythmic flexibility, and from unmeasured music in which no set rhythmic values were employed.
		The talea may be augmented or diminished as long as the rhythmic proportions stay the same.
		The tenor for each mode is included on the table of modes.
	www.the-orb.net /encyclop/culture/music/orbgloss.html (6382 words)

	ORB: The Online Reference Book for Medieval Studies--Medieval Music Glossary
		Mensural music is distinct from music employing the rhythmic modes in which the context-dependent notation limited rhythmic flexibility, and from unmeasured music in which no set rhythmic values were employed.
		The talea may be augmented or diminished as long as the rhythmic proportions stay the same.
		The tenor for each mode is included on the table of modes.
	the-orb.net /encyclop/culture/music/orbgloss.html (6382 words)

	musical notation. The Columbia Encyclopedia, Sixth Edition. 2001-05
		At first, certain patternings of neumes were used to represent the various rhythmic modes; later, in his Ars cantus mensurabilis (c.1280), Franco of Cologne created a clear indication for each note of its exact rhythmic length and selected certain neumes to represent tones of long and short duration.
		At the various rhythmic levels of a given piece either a 2:1 or a 3:1 relationship was implied, and a system of signs and colored notes developed for indicating which relationships were in force or were being temporarily altered.
		With the adoption of equal temperament and the major and minor modes, signatures indicating a major key or its relative minor became conventional.
	www.bartleby.com /65/mu/musicaln.html (734 words)

	Search Results for rhythmic - Encyclopædia Britannica
		rhythmic organization in triple patterns underlying all polyphonic (many-voiced) music of the late 12th and 13th centuries, beginning with the descant sections of two-part organa of the Notre-Dame...
		Rhythms and their organization into cycles of beats and pauses of varying lengths (rhythmic modes, or qiaa) are much discussed in theoretical writings and are of supreme importance in performance.
		Among the vast array of nonmelodic, rhythmic idiophones, the most common and widespread are probably rattles, sounded by shaking.
	www.britannica.com /search?query=rhythmic&submit=Find&source=MWTEXT (423 words)

	Arabic Musical Forms
		The muwashah is often composed using a complex rhythmic mode, or iqaa.
		The lyrics in a muwashah are written in classical Arabic (fus'ha) as opposed to colloquial or regional Arabic ('ammiyyah), and often deal with the subject of love (unrequited love), or wine used as a metaphor for religious intoxication (common in Sufism).
		Second in the sense of rhythmic counterpointal figures using heterophony at times; change of rhythm with each new melodic section; melodic complexity in the musical phrases (length, accidentals, leaps, modulation).
	www.maqamworld.com /forms.html (1207 words)

	iClassics (Site not responding. Last check: 2007-11-04)
		In addition to the simultaneous motion of the voices, polyphonic conductus of the 13th century are distinguished by the use of phrases of equal length, and by the introduction of newly-composed tenors, a change from the practice of using a pre-existing chant melody as the basis of the composition.
		Rhythmic modes were developed in the 11th and 12th century to notate rhythm, and proved adequate until well into the 13th century.
		The modes make use of combinations of single notes with ligatures – groups of notes written as units – to indicate different rhythmic patterns.
	www.iclassics.com /periodArticle?contentId=3011 (920 words)

	Metric Modes (IQA'AT) & Melodic Modes (MAQAMAT)
		Maqâmât are often understood in terms of scalar units such as tetrachords (set of 4 notes) that constitute the nucleus of the expanded modes (usually spanning two octaves).
		Maqsûm is one of the most prevelant Arab rhythmic modes, typical of dance music.
		The word Sabâ refers to the easterly breeze and the mode is often associated with a feeling of sadness.
	www.ethnomusic.ucla.edu /ensembles/worldmusic/neareast/Modes.htm (367 words)

	Arab music, Music, College Term Papers.com
		Rhythmic patterns have up to forty-eight beats and typically include several downbeats (called dums) as well as upbeats (called taks) and rests.
		Melodic modes of the same name are tuned slightly differently in Syria, Egypt, Iraq, and the countries of North Africa.
		Rhythmic modes also have varying articulations in different locales, and the styles of melodies and renditions differ.
	www.collegetermpapers.com /TermPapers/Music/Arab_music.shtml (1008 words)

	Arabic Music (Site not responding. Last check: 2007-11-04)
		The pieces are centered around a melodic mode, and a large part of the performance is based on improvisation, a dominant feature found in music throughout the Islamic world.
		Rhythmically, Western music is usually divided into meters, typically of equal duration, which contain a fixed number of individual beats, or rhythmic pulses.
		Rhythmic modes also have varying articulations in different locales, and styles of the melodies and the renditions differ.
	www.arab-world-information.com /arabic_music.htm (3559 words)

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