I have not heard of this composer either (good job!) but I instantly recognised the style. I wonder if Murschhauser is the true author of J.S. Bach's doubtful BWV 561.
I wouldn't be sure about that, the Fugue from BWV 561 is very long, and most of Murschhauser's are short (sometimes very, very short!). The Prelude is quite similar in style, but it could be by anyone - like a lot of other Bach's works, honestly.
### The Gregorian Tones and their Distinction from Greek Modes Gregorian chant, named after Pope Gregory I, who reigned from 590 to 604 AD, represents one of the most significant forms of liturgical music in the Western Christian tradition. The Gregorian tones, a cornerstone of this chant tradition, provide a unique glimpse into the medieval approach to melody and worship. A key element to understanding Gregorian chant lies in its comparison with the ancient Greek modes, a system of musical organization that predated and influenced it. #### The Gregorian Tones Gregorian tones, also known as Gregorian modes, are a set of eight modal scales used in the composition and performance of Gregorian chant. These modes are derived from the musical theories of the medieval scholars, who adapted and extended the principles found in ancient Greek musical theory. Each mode is defined by a specific arrangement of whole and half steps within an octave and is characterized by a unique finalis (the final note of the chant), reciting tone (a dominant note often used for recitation), and range. The eight Gregorian modes are divided into four pairs, each comprising an authentic and a plagal form. The authentic modes have a higher range, typically spanning from the finalis to the octave above, while the plagal modes cover a lower range, extending a fourth below the finalis and a fifth above it. The authentic modes are numbered I, III, V, and VII, while their plagal counterparts are II, IV, VI, and VIII. For example, Mode I (Dorian) has its finalis on D, with a range from D to D, and Mode II (Hypodorian) also has its finalis on D, but its range extends from A below to A above. #### The Greek Modes The Greek modes, or harmoniai, were an ancient system of musical scales used in classical Greek music. Unlike the Gregorian modes, the Greek modes were not exclusively tied to a liturgical context but were part of a broader musical and philosophical tradition. These modes were named after various regions and peoples, such as Dorian, Phrygian, Lydian, and Mixolydian, and each mode had its own distinctive ethos or character, believed to influence the listener's emotions and behavior. The structure of Greek modes is similar to that of the Gregorian modes, in that both systems organize pitches within an octave. However, the Greeks used a system based on tetrachords-four-note sequences spanning a perfect fourth. Greek modes were constructed by combining two tetrachords, which could be either conjunct (sharing a common note) or disjunct (separated by a whole tone). For instance, the Dorian mode in the Greek system would be represented as a series of two conjunct tetrachords. #### Key Differences Between Gregorian and Greek Modes Despite their similarities, Gregorian and Greek modes differ in several important ways: 1. **Historical and Cultural Context**: Greek modes originated in the secular and philosophical traditions of ancient Greece, whereas Gregorian modes developed within the Christian liturgical framework of the medieval West. This distinction underscores the differing purposes and applications of each system. 2. **Structural Principles**: Greek modes are built using tetrachords, focusing on the arrangement of four-note groups. Gregorian modes, while influenced by Greek theory, emphasize the octave as the primary structural unit and incorporate additional elements such as the reciting tone and specific cadential patterns. 3. **Number and Classification**: The Greek system includes seven primary modes, while the Gregorian system comprises eight, divided into authentic and plagal forms. This classification reflects the medieval adaptation and expansion of Greek theoretical concepts. 4. **Ethos and Function**: In Greek theory, each mode was associated with a specific ethos, believed to affect the listener's emotions and moral character. Gregorian modes, however, are more functional in nature, designed to suit the melodic and textual requirements of liturgical chant. 5. **Modal Flexibility**: Gregorian chant exhibits a degree of modal flexibility, with melodies often modulating between modes or employing elements from multiple modes. In contrast, Greek modes were more rigidly defined, with less emphasis on modulation. #### Conclusion The relationship between Gregorian tones and Greek modes illustrates the transmission and transformation of musical theory across cultures and epochs. While the Greek modes provided a foundational framework, the Gregorian system adapted and expanded these ideas to serve the needs of Christian liturgical practice. Understanding both systems not only enriches our appreciation of their respective musical traditions but also highlights the enduring legacy of ancient Greek music theory in the development of Western music.
Except these aren't "gregorian" modes, it's a later adaptation somewhere halfway between the old modal designations and the new key signatures. Some Italian theorists compiled descriptions of these "tuoni" in their treatises, with varying degrees of disconnect from actual practice. These are intended for instrumental music, and as such do not take into account several limiting aspects of older modal theory, where the ranges of voices in a polyphonic work were regulated and transpositions of the system could typically only be done by a fourth (for example, the "D major" tonus, which some theorists include, is unthinkable in any theoretical system prior to this one). For a better overview of the evolution of the modal system, consider watching the corresponding video (I believe it is titled "Modes in the 16th century") at the Early Music Sources youtube channel. Not to mention that the above answer is obviously AI-generated and contains some misleading statements.
Totally agree about suggesting the videos of Early Music Sources, but I strongly doubt that the previous comment is AI-generated: AI understanding of music theory is close to zero, ChatGPT notoriously can't even tell you what alterations you have in C minor, I find hard to believe it could assemble such text about modes. :)
@@SPscorevideos I strongly agree with you. The text author shows a deep knowledge on antique music systems and, for a while, AI cannot generate such a thing. I tested.
I love when I can feel the pedal notes in my feet even though I'm listening with headphones on.
Beautiful❤
I love the wonderful music
Played by Silva Manfrè.
I have not heard of this composer either (good job!) but I instantly recognised the style. I wonder if Murschhauser is the true author of J.S. Bach's doubtful BWV 561.
I wouldn't be sure about that, the Fugue from BWV 561 is very long, and most of Murschhauser's are short (sometimes very, very short!). The Prelude is quite similar in style, but it could be by anyone - like a lot of other Bach's works, honestly.
Are the "toni" the greek modes?
### The Gregorian Tones and their Distinction from Greek Modes
Gregorian chant, named after Pope Gregory I, who reigned from 590 to 604 AD, represents one of the most significant forms of liturgical music in the Western Christian tradition. The Gregorian tones, a cornerstone of this chant tradition, provide a unique glimpse into the medieval approach to melody and worship. A key element to understanding Gregorian chant lies in its comparison with the ancient Greek modes, a system of musical organization that predated and influenced it.
#### The Gregorian Tones
Gregorian tones, also known as Gregorian modes, are a set of eight modal scales used in the composition and performance of Gregorian chant. These modes are derived from the musical theories of the medieval scholars, who adapted and extended the principles found in ancient Greek musical theory. Each mode is defined by a specific arrangement of whole and half steps within an octave and is characterized by a unique finalis (the final note of the chant), reciting tone (a dominant note often used for recitation), and range.
The eight Gregorian modes are divided into four pairs, each comprising an authentic and a plagal form. The authentic modes have a higher range, typically spanning from the finalis to the octave above, while the plagal modes cover a lower range, extending a fourth below the finalis and a fifth above it. The authentic modes are numbered I, III, V, and VII, while their plagal counterparts are II, IV, VI, and VIII. For example, Mode I (Dorian) has its finalis on D, with a range from D to D, and Mode II (Hypodorian) also has its finalis on D, but its range extends from A below to A above.
#### The Greek Modes
The Greek modes, or harmoniai, were an ancient system of musical scales used in classical Greek music. Unlike the Gregorian modes, the Greek modes were not exclusively tied to a liturgical context but were part of a broader musical and philosophical tradition. These modes were named after various regions and peoples, such as Dorian, Phrygian, Lydian, and Mixolydian, and each mode had its own distinctive ethos or character, believed to influence the listener's emotions and behavior.
The structure of Greek modes is similar to that of the Gregorian modes, in that both systems organize pitches within an octave. However, the Greeks used a system based on tetrachords-four-note sequences spanning a perfect fourth. Greek modes were constructed by combining two tetrachords, which could be either conjunct (sharing a common note) or disjunct (separated by a whole tone). For instance, the Dorian mode in the Greek system would be represented as a series of two conjunct tetrachords.
#### Key Differences Between Gregorian and Greek Modes
Despite their similarities, Gregorian and Greek modes differ in several important ways:
1. **Historical and Cultural Context**: Greek modes originated in the secular and philosophical traditions of ancient Greece, whereas Gregorian modes developed within the Christian liturgical framework of the medieval West. This distinction underscores the differing purposes and applications of each system.
2. **Structural Principles**: Greek modes are built using tetrachords, focusing on the arrangement of four-note groups. Gregorian modes, while influenced by Greek theory, emphasize the octave as the primary structural unit and incorporate additional elements such as the reciting tone and specific cadential patterns.
3. **Number and Classification**: The Greek system includes seven primary modes, while the Gregorian system comprises eight, divided into authentic and plagal forms. This classification reflects the medieval adaptation and expansion of Greek theoretical concepts.
4. **Ethos and Function**: In Greek theory, each mode was associated with a specific ethos, believed to affect the listener's emotions and moral character. Gregorian modes, however, are more functional in nature, designed to suit the melodic and textual requirements of liturgical chant.
5. **Modal Flexibility**: Gregorian chant exhibits a degree of modal flexibility, with melodies often modulating between modes or employing elements from multiple modes. In contrast, Greek modes were more rigidly defined, with less emphasis on modulation.
#### Conclusion
The relationship between Gregorian tones and Greek modes illustrates the transmission and transformation of musical theory across cultures and epochs. While the Greek modes provided a foundational framework, the Gregorian system adapted and expanded these ideas to serve the needs of Christian liturgical practice. Understanding both systems not only enriches our appreciation of their respective musical traditions but also highlights the enduring legacy of ancient Greek music theory in the development of Western music.
@@alessandropalazzani Thank you very much! Your article is the most concise and informative text I had ever read on old greek and liturgical modes.
Except these aren't "gregorian" modes, it's a later adaptation somewhere halfway between the old modal designations and the new key signatures. Some Italian theorists compiled descriptions of these "tuoni" in their treatises, with varying degrees of disconnect from actual practice. These are intended for instrumental music, and as such do not take into account several limiting aspects of older modal theory, where the ranges of voices in a polyphonic work were regulated and transpositions of the system could typically only be done by a fourth (for example, the "D major" tonus, which some theorists include, is unthinkable in any theoretical system prior to this one).
For a better overview of the evolution of the modal system, consider watching the corresponding video (I believe it is titled "Modes in the 16th century") at the Early Music Sources youtube channel.
Not to mention that the above answer is obviously AI-generated and contains some misleading statements.
Totally agree about suggesting the videos of Early Music Sources, but I strongly doubt that the previous comment is AI-generated: AI understanding of music theory is close to zero, ChatGPT notoriously can't even tell you what alterations you have in C minor, I find hard to believe it could assemble such text about modes. :)
@@SPscorevideos I strongly agree with you. The text author shows a deep knowledge on antique music systems and, for a while, AI cannot generate such a thing. I tested.