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发表于 2014-10-1 17:54:53
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本帖最后由 风云常青 于 2014-10-1 18:48 编辑
Ionian mode is the name assigned by Heinrich Glarean in 1547 to his new authentic mode on C (mode 11 in his numbering scheme), which uses the diatonic octave species from C to the C an octave higher, divided at G (as its dominant, reciting note or tenor) into a fourth species of perfect fifth (tone–tone–semitone–tone) plus a third species of perfect fourth (tone–tone–semitone): C D E F G + G A B C (Powers 2001a). This octave species is essentially the same as the major mode of tonal music (Jones 1974, 42).
Church music was previously explained by theorists as being organised in eight musical modes: the scales on D, E, F, and G in the "greater perfect system" of "musica recta" (Powers 2001b, §II: "Medieval Modal Theory"), each with their authentic and plagal counterparts.
Glarean's twelfth mode was the plagal version of the Ionian mode, called Hypoionian (under Ionian), based on the same relative scale, but with the major third as its tenor, and having a melodic range from a perfect fourth below the tonic, to a perfect fifth above it (Powers 2001c).
谷歌翻译的维基百科资料：
爱奥尼亚模式是在1547年由海因里希Glarean分配给他的新正品模式C（11模式在他的编号方案），它采用了全音阶八度物种在C到C的高八度，在g处分（作为其主导的名字，背诵注释，或男高音）到四分之一的物种的纯五度（音音，半音音），加上完美的四分之一（音音，半音的第三个种类）：CDEFG+ GABC（权力2001A）。这个倍频物种是基本相同的音调乐（琼斯1974年，42）的主要模式。
教会音乐之前被理论家解释为正在举办的八音乐模式：在D，E，F和G的尺度“MUSICA直肠”（国2001B，§II的“更大的完善的制度”：“中世纪的模态理论”），各有其真实性和plagal同行。
Glarean的第十二模式是爱奥尼亚模式，被称为Hypoionian（爱奥尼亚下），基于相同的相对比例的plagal版本，但与主要的三分之一，其意旨，并具有旋律范围从纯四度的进补之下，在它上面的纯五度（权力2001C）。
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