KSIĄŻKI POWIĄZANE ZE SŁOWEM «HYPOAEOLIAN»
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1
Music Theory and Natural Order from the Renaissance to the ...
So why didn't Oettingen make life simple and refer to his descending scale as the
hypoaeolian? At least then we might have recognised it more easily as our own
minor scale, with the tonic in the middle. Oettingen could not call it hypoaeolian ...
Suzannah Clark, Alexander Rehding, 2001
2
The Language of the Modes: Studies in the History of ...
Similarly, in Obrecht's Aeolian Parce domine (chap. iii:13), the soprano is
Hypoaeolian (e'—e") with the lower fourth of the Hypodorian (a— d '), which is
effectively a combined Aeolian—Hypoaeolian ambitus. But in these examples the
plagal ...
3 Similarly, he recognizes that the fourth mode (Hypophrygian) is mixed with the
tenth (Hypoaeolian).4 And later, he identifies the mixture of the third mode (
Phrygian) with the tenth (Hypoaeolian).5 The mixture of modes 3 and 10 is
possible ...
4
The Performance of 16th-Century Music: Learning from the ...
Hypoaeolian Appendix Table 4.1 Hypoaeolian Superius Altus Tenor Bassus Clef
Source Clef Source Clef Source Clef Source C1 Beringer C3 Cerone C4
Beringer F4 Calvisius Calvisius Herbst Calvisius Cerone Cerone Nucius Cerone
Galilei ...
5
Reading Renaissance Music Theory: Hearing with the Eyes
Title Hypoaeolian Lydian Hyperphrygian Mixolydian Hypoionian 67 Marbriano
de Orto 68 Josquin 69 Jean Mouton 70 Nicolaus Craen 71 Sixt Dietrich 72 Sixt
Dietrich 73 Heinrich Isaac 74 Senfl 75 Gregor Meyer 76 Gregor Meyer 77 78 79
80 ...
Cristle Collins Judd, 2006
6
A General History of the Science and Practice of Music
named the Hypermixolydian, Aristoxenus added ' these five, the Hypoiastian, the
Hypoaeolian, Iastian, ' ^Eolian, and Hyperiastian, and so made the number '
thirteen ; but all five of these were, according to the 'authority of Bryennius to be ...
7
Source readings in music history from classical antiquity ...
Hypoaeolian. Aeolian. Hyperaeolian. Hypolydian Lydian Hyperlydian I. The
Hypodorian key is the one sounding lowest of all, for which reason it is also
called lower. II. The Hypoiastian exceeds the Hypodorian by a semitone. m.
William Oliver Strunk, 1950
8
The Harvard Dictionary of Music
He adds authentic and plagal modes with finals on a (numbered 9 and 10 and
termed Aeolian and Hypoaeolian, respectively) and c' (numbered 11 and 12 and
termed Ionian and Hypoionian, respectively). In his Dimostrationi har- moniche ...
9
The Critical Nexus: Tone-System, Mode, and Notation in Early ...
[2] A certain compatibility or kinship exists among these tropi, drawing them to
each other, as in the case of the kinship between the hypodorian and the
hypophrygian, or between the hypoionian and the hypoaeolian. Likewise there is
a ...
Charles M. Atkinson, 2008
10
Music History During the Renaissance Period, 1520-1550: A ...
... musicaficta and chromaticism, by broadening it LowC, 675 (1) He added four
new modes to the eight old church modes A11T, 69 (a) The new modes were the
Aeolian mode (9th), the Hypoaeolian mode (10th), the Ionian mode (1 1th), and ...
