Mode (from Latin modus, "measure, standard, manner, way") is a term from Western music Classical music is the art music produced in, or rooted in, the traditions of Western liturgical and secular music, encompassing a broad period from roughly the 9th century to present times. The central norms of this tradition became codified between 1550 and 1900, which is known as the common practice period theory having three definitions (Powers 2001, introduction).

1. the rhythmic relationship between long and short values in the late medieval period;
2. in early medieval theory, interval In music theory, the term interval describes the relationship between the pitches of two notes;
3. most commonly, a concept involving scale In music, a scale is a group of musical notes collected in ascending and descending order, that provides material for or is used to conveniently represent part or all of a musical work including melody and/or harmony. Scales are ordered in pitch or pitch class, with their ordering providing a measure of musical distance and melody type.

In addition, from the end of the eighteenth century, the term began to be used in ethnomusicological Coined by Jaap Kunst from the Greek words ἔθνος ethnos and μουσική mousike (music), it is often considered the anthropology or ethnography of music. Jeff Todd Titon has called it the study of "people making music." Although it is often thought of as a study of non-Western musics, ethnomusicology also includes the study of contexts to describe pitch structures in non-European musical cultures, sometimes with doubtful compatibility (Powers 2001, §V,1).

This article addresses the scale and melody-type meaning.

Modes and scales

A "scale" is an ordered series of intervals, which, along with the key In music theory, the term key is used in many different and sometimes contradictory ways. A common use is to speak of music as being "in" a specific key, such as in the key of C or in the key of F-sharp. Sometimes the terms "major" or "minor" are appended, as in the key of A minor or in the key of B-flat major, and so or tonic The tonic is the first note of a musical scale in the tonal method of musical composition. The triad formed on the tonic note, the tonic chord, is thus the most significant chord. More generally, the tonic is the pitch upon which all other pitches of a piece are hierarchically referenced. The tonic is often confused with the root, which is the (first tone), defines that scale's intervals or steps. However, "mode" is usually used in the sense of "scale" applied only to the 7 specific diatonic scales In music theory, a diatonic scale is a seven note octave-repeating musical scale comprising five whole steps and two half steps for each octave, in which the two half steps are separated from each other by either two or three whole steps. This pattern ensures that, in a diatonic scale spanning more than one octave, all the half steps are maximally (using only the seven tones of the scale without chromatic alterations) that follow the tonic note. The use of more than one mode makes music polymodal, such as with polymodal chromaticism. Modern musicological practice has extended the concept of mode to earlier musical systems, such as those of Ancient Greek music The music of ancient Greece was almost universally present in society, from marriages and funerals to religious ceremonies, staged dramas, folk music and the ballad-like reciting of epic poetry. It thus played an integral role in the lives of ancient Greeks. There are significant fragments of actual Greek musical notation as well as many literary and Jewish cantillation Cantillation is the ritual chanting of readings from the Hebrew Bible in synagogue services. The chants are written and notated in accordance with the special signs or marks printed in the Masoretic text of the Hebrew Bible to complement the letters and vowel points. These marks are known in English as accents and in Hebrew as טעמי המקרא, as well as to non-Western musics (Powers 2001, §I, 3; Winnington-Ingram 1936, 2–3).

Greek

Early Greek Ancient Greece is the civilization belonging to the period of Greek history lasting from the Archaic period of the 8th to 6th centuries BC to 146 BC and the Roman conquest of Greece after the Battle of Corinth. At the center of this time period is Classical Greece, which flourished during the 5th to 4th centuries BC, at first under Athenian treatises on music do not use the term "mode" (which comes from Latin), but do describe scales In music, a scale is a group of musical notes collected in ascending and descending order, that provides material for or is used to conveniently represent part or all of a musical work including melody and/or harmony. Scales are ordered in pitch or pitch class, with their ordering providing a measure of musical distance (or "systems"), tonoi (the more usual term used in medieval theory for "mode"), and harmoniai (harmony)—the latter subsuming the corresponding tonoi but not necessarily the converse (Mathiesen 2001a, 6(iii)(e);Thomas J. Mathiesen, "Greece, §I: Ancient").

Greek Scales

The Greek scales in the Aristoxenian Aristoxenus of Tarentum was a Greek Peripatetic philosopher, and a pupil of Aristotle. Most of his writings, which dealt with philosophy, ethics and music, have been lost, but one musical treatise, Elements of Harmony, survives incomplete, as well as some fragments concerning rhythm and meter tradition were (Barbera 1984, 240; Mathiesen 2001a, 6(iii)(d)):

• Mixolydian Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; a modern musical mode or diatonic scale, related to the medieval mode: hypate hypaton–paramese (b–b′)
• Lydian Lydian is the name commonly given to the fifth of the eight church modes, the authentic mode on F, theoretically with B♮ but in practice more commonly with B♭ . In the romantic and contemporary periods this has come to mean a diatonic scale of the natural notes from F to F, with a rising pattern of three whole tones, a semitone, two more whole: parhypate hypaton–trite diezeugmenon (c′–c″)
• Phrygian The Phrygian mode can refer to three different musical modes: the ancient Greek tonos or harmonia sometimes called Phrygian, formed on a particular set octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter. It is also known in Arabic and in the Middle East as: lichanos hypaton–paranete diezeugmenon (d′–d″)
• Dorian Due to historical confusion, Dorian mode or Doric mode can refer to two very different musical modes or diatonic scales: hypate meson–nete diezeugmenon (e′–e″)
• Hypolydian: parhypate meson–trite hyperbolaion (f′–f″)
• Hypophrygian: lichanos meson–paranete hyperbolaion (g′–g″)
• Common, Locrian The Locrian mode is a musical mode or diatonic scale. Although the term occurs in several classical authors on music theory, including Cleonides and Athenaeus (as an obsolete harmonia), there is no warrant for the modern usage of Locrian as equivalent to Glarean's Hyperaeolian mode, in either classical, Renaissance, or later phases of modal theory, or Hypodorian: mese–nete hyperbolaion or proslambnomenos–mese (a′–a″ or a–a′)

These names are derived from Ancient Greek subgroups (Dorians The Dorians were one of the four major tribes into which the Ancient Greeks of the Classical period divided themselves), one small region in central Greece (Locris), and certain neighboring (non-Greek) peoples from Asia Minor Anatolia is a geographic and historical term denoting the westernmost protrusion of Asia, comprising the majority of the Republic of Turkey. The region is bounded by the Black Sea to the north, Georgia to the northeast, Armenia to the east, Mesopotamia to the southeast, the Mediterranean Sea to the south and the Aegean Sea to the west. Anatolia (Lydia Lydia was an Iron Age kingdom of western Asia Minor located generally east of ancient Ionia in the modern Turkish provinces of Manisa and inland İzmir. Its population spoke an Anatolian language known as Lydian, Phrygia In antiquity, Phrygia was a kingdom in the west central part of Anatolia, in what is now modern-day Turkey. The Phrygians (Phruges or Phryges) initially lived in the southern Balkans; according to Herodotus, under the name of Bryges (Briges), changing it to Phruges after their final migration to Anatolia, via the Hellespont). The association of these ethnic names with the octave species appears to precede Aristoxenos, who criticized their application to the tonoi by the earlier theorists whom he called the Harmonicists (Mathiesen 2001a, 6(iii)(d)).

Depending on the positioning (spacing) of the interposed tones in the tetrachords Traditionally, a tetrachord is a series of four tones filling in the interval of a perfect fourth, a 4:3 frequency proportion. In modern usage a tetrachord is any four-note segment of a scale or tone row. The term tetrachord derives from ancient Greek music theory. It literally means four strings, originally in reference to harp-like instruments, three genera of the seven octave species can be recognized. The diatonic genus (composed of tones and semitones), the chromatic genus (semitones and a minor third), and the enharmonic genus (with a major third and two quarter-tones or diesis) (Cleonides 1965, 35–36). The framing interval of the perfect fourth is fixed, while the two internal pitches are movable. Within the basic forms, the intervals of the chromatic and diatonic genera were varied further by three and two "shades" (chroai), respectively (Cleonides 1965, 39–40; Mathiesen 2001a, 6(iii)(c)).

Tonoi

The term tonos (pl. tonoi) was used in four senses: "as note, interval, region of the voice, and pitch. We use it of the region of the voice whenever we speak of Dorian, or Phrygian, or Lydian, or any of the other tones" (Cleonides 1965, 44). Cleonides attributes thirteen tonoi to Aristoxenos, which represent a progressive transposition of the entire system (or scale) by semitone over the range of an octave between the Hypodorian and the Hypermixolydian (Mathiesen 2001a, 6(iii)(e)). Aristoxenos's transpositional tonoi, according to Cleonides (1965, 44), were named analogously to the octave species, supplemented with new terms to raise the number of degrees from seven to thirteen. However, according to the interpretation of at least two modern authorities, in these transpositional tonoi the Hypodorian is the lowest, and the Mixolydian next-to-highest—the reverse of the case of the octave species (Mathiesen 2001a, 6(iii)(e); Solomon 1984, 244–45), with nominal base pitches as follows (descending order):

• f: Hypermixolydian (or Hyperphrygian)
• e: High Mixolydian or Hyperiastian
• e♭: Low Mixolydian or Hyperdorian
• d: Lydian
• c♯: Low Lydian or Aeolian
• c: Phrygian
• B: Low Phrygian or Iastian
• B♭: Dorian
• A: Hypolydian
• G♯: Low Hypolydian or Hypoaelion
• G: Hypophrygian
• F♯: Low Hypophrygian or Hypoiastian
• F: Hypodorian

Ptolemy Claudius Ptolemaeus , known in English as Ptolemy (pronounced /ˈtɒləmɪ/), was a Roman citizen of Egypt who wrote in Greek. He was a mathematician, astronomer, geographer, astrologer and a poet of a single epigram in the Greek Anthology. He lived in Egypt under Roman rule, and is believed to have been born in the town of Ptolemais Hermiou in, in his Harmonics, ii.3–11, construed the tonoi differently, presenting all seven octave species within a fixed octave, through chromatic inflection of the scale degrees (comparable to the modern conception of building all seven modal scales on a single tonic). In Ptolemy's system, therefore there are only seven tonoi (Mathiesen 2001a, 6(iii)(e); Mathiesen 2001c). Pythagoras Pythagoras of Samos was an Ionian Greek philosopher and founder of the religious movement called Pythagoreanism. Most of our information about Pythagoras was written down centuries after he lived, thus very little reliable information is known about him. He was born on the island of Samos, and may have travelled widely in his youth, visiting Egypt also construed the intervals arithmetically ( if somewhat more rigorously, initially allowing for 1:1 = Unison, 2:1 = Octave, 3:2 = Fifth, 4:3 = Fourth and 5:4 = Major Third within the octave). These tonoi and corresponding harmoniai correspond with the intervals of the familiar modern major and minor scales. See Pythagorean_tuning Pythagorean tuning is a system of musical tuning in which the frequency relationships of all intervals are based on the ratio 3:2. Its name comes from medieval texts which attribute its discovery to Pythagoras, but its use has been documented as long ago as 3500 B.C. in Babylonian texts. It is the oldest way of tuning the 12-note chromatic scale and Pythagorean_interval.

Harmoniai

In music theory the Greek word harmonia can signify the enharmonic genus of tetrachord, the seven octave species, or a style of music associated with one of the ethnic types or the tonoi named by them (Mathiesen 2001b).

Particularly in the earliest surviving writings, harmonia is regarded not as a scale, but as the epitome of the stylised singing of a particular district or people or occupation (Winnington-Ingram 1936, 3). When the late 6th-century poet Lasus of Hermione referred to the Aeolian harmonia, for example, he was more likely thinking of a melodic style characteristic of Greeks speaking the Aeolic dialect than of a scale pattern (Anderson and Mathiesen 2001).

In the Republic, Plato Plato , was a Classical Greek philosopher, mathematician, writer of philosophical dialogues, and founder of the Academy in Athens, the first institution of higher learning in the Western world. Along with his mentor, Socrates, and his student, Aristotle, Plato helped to lay the foundations of Western philosophy and science. Plato was originally a uses the term inclusively to encompass a particular type of scale, range and register, characteristic rhythmic pattern, textual subject, etc. (Mathiesen 2001a, 6(iii)(e)). He held that playing music in a particular harmonia would incline one towards specific behaviors associated with it, and suggested that soldiers should listen to music in Dorian or Phrygian harmoniai to help make them stronger, but avoid music in Lydian, Mixolydian or Ionian harmoniai, for fear of being softened. Plato believed that a change in the musical modes of the state would cause a wide-scale social revolution.^{[citation needed]}

The philosophical writings of Plato Plato , was a Classical Greek philosopher, mathematician, writer of philosophical dialogues, and founder of the Academy in Athens, the first institution of higher learning in the Western world. Along with his mentor, Socrates, and his student, Aristotle, Plato helped to lay the foundations of Western philosophy and science. Plato was originally a and Aristotle Aristotle (384 BC – 322 BC) was a Greek philosopher, a student of Plato and teacher of Alexander the Great. His writings cover many subjects, including physics, metaphysics, poetry, theater, music, logic, rhetoric, politics, government, ethics, biology, and zoology. Together with Plato and Socrates (Plato's teacher), Aristotle is one of the most (c. 350 BC Anno Domini and Before Christ (abbreviated as BC or B.C.) are designations used to label years in the Julian and Gregorian calendars. The calendar era to which they refer is based on the traditionally reckoned year of the conception or birth of Jesus, with AD denoting years after the start of this epoch, and BC denoting years before the start of) include sections that describe the effect of different harmoniai on mood and character formation. For example, Aristotle in the Politics (viii:1340a:40–1340b:5):

But melodies themselves do contain imitations of character. This is perfectly clear, for the harmoniai have quite distinct natures from one another, so that those who hear them are differently affected and do not respond in the same way to each. To some, such as the one called Mixolydian, they respond with more grief and anxiety, to others, such as the relaxed harmoniai, with more mellowness of mind, and to one another with a special degree of moderation and firmness, Dorian being apparently the only one of the harmoniai to have this effect, while Phrygian creates ecstatic excitement. These points have been well expressed by those who have thought deeply about this kind of education; for they cull the evidence for what they say from the facts themselves. (Barker 1984–89, 1:175–76)

Aristotle continues by describing the effects of rhythm, and concludes about the combined effect of rhythm and harmonia (viii:1340b:10–13):

From all this it is clear that music is capable of creating a particular quality of character [ἦθος] in the soul, and if it can do that, it is plain that it should be made use of, and that the young should be educated in it. (Barker 1984–89, 1:176)

The word ethos (ἦθος) in this context means "moral character", and Greek ethos theory concerns the ways in which music can convey, foster, and even generate ethical states (Anderson and Mathiesen 2001).

Melos

Some treatises also describe "melic" composition, "the employment of the materials subject to harmonic practice with due regard to the requirements of each of the subjects under consideration" (Cleonides 1965, 35)—which, together with the scales, tonoi, and harmoniai resemble elements found in medieval modal theory (Mathiesen 2001a, 6(iii)). According to Aristides Quintilianus (On Music, i.12), melic composition is subdivided into three classes: dithyrambic, nomic, and tragic. These parallel his three classes of rhythmic composition: systaltic, diastaltic and hesychastic. Each of these broad classes of melic composition may contain various subclasses, such as erotic, comic and panegyric, and any composition might be elevating (diastaltic), depressing (systaltic), or soothing (hesychastic) (Mathiesen 2001a, 4).

The classification of the requirements we have from Proclus Proclus Lycaeus , called "The Successor" or "Diadochos" (Greek Πρόκλος ὁ Διάδοχος Próklos ho Diádokhos), was a Greek Neoplatonist philosopher, one of the last major Classical philosophers (see Damascius). He set forth one of the most elaborate and fully developed systems of Neoplatonism. He stands near the Useful Knowledge as preserved by Photios Our father among the saints Photios I also spelled Photius or Fotios and known by the Eastern Orthodox churches as St. Photios the Great, was Patriarch of Constantinople from 858 to 867 and from 877 to 886. Photios is widely regarded as the most powerful and influential Patriarch of Constantinople since John Chrysostom, and as the most important^{[citation needed]}:

• for the gods—hymn, prosodion, paean Paean is a term used to describe a type of triumphal or grateful song, usually choral though sometimes individual. It comes from the ancient Greek "παιάν", "παιήων", or "παιών", "song of triumph, any solemn song or chant" and it was also used as the name for the physician of the Greek gods, dithyramb The dithyramb was an ancient Greek hymn sung and danced in honour of Dionysus, the god of wine and fertility; the term was also used as an epithet of the god:Plato, in The Laws, while discussing various kinds of music mentions "the birth of Dionysos, called, I think, the dithyramb.". Plato also remarks of dithyrambs in the Republic (394c), nomos, adonidia, iobakchos, and hyporcheme;
• for humans—encomion Encomium is a Latin word deriving from the Classical Greek ἐγκώμιον meaning the praise of a person or thing. Related to this general meaning, "encomium" also identifies several distinct aspects of rhetoric:, epinikion, skolion, erotica, epithalamia, hymenaios In Greek mythology, Hymenaios was a god of marriage ceremonies, inspiring feasts and song. A hymenaios is also a genre of Greek lyric poetry sung during the procession of the bride to the groom's house in which the god is addressed, in contrast to the Epithalamium, which was sung at the nuptial threshold, sillos, threnos A threnody is a song or hymn of mourning composed or performed as a memorial to a dead person. The term originates from the Greek word threnoidia, from threnos + oide ("song"); ultimately, from the Proto-Indo-European root wed- ("to speak") that is also the precursor of such words as "ode", "tragedy", ", and epikedeion An epic (from the Ancient Greek adjective ἐπικός , from ἔπος (epos) "word, story, poem") is a lengthy narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation. Oral poetry may qualify as an epic, and Albert Lord and Milman Parry have argued that;
• for the gods and humans—partheneion, daphnephorika, tripodephorika, oschophorika, and eutika

According to Mathiesen, music as a performing art was called melos, which in its perfect form (teleion melos) comprised not only the melody and the text (including its elements of rhythm and diction) but also stylized dance movement. Melic and rhythmic composition (respectively, melopoiïa and rhuthmopoiïa) were the processes of selecting and applying the various components of melos and rhythm to create a complete work.

Aristides Quintilianus: And we might fairly speak of perfect melos, for it is necessary that melody, rhythm and diction be considered so that the perfection of the song may be produced: in the case of melody; a simple sound, in the case of rhythm, a motion of sound, and in the case of diction, the meter. The things contingent to perfect melos are motion-both of sound and body-and also chronoi and the rhythms based on these. (Mathiesen 1999,^{[page needed]})

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