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awful old music in one of the ancient modalities

Chinese translation: 一种古代风行的而现在不入耳的音乐

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04:06 Mar 14, 2004
English to Chinese translations [PRO]
Art/Literary - Music
English term or phrase: awful old music in one of the ancient modalities
It was awful old music in one of the ancient modalities, music that sums up a culture and is the expression of its inner life.
panyuan
Chinese translation:一种古代风行的而现在不入耳的音乐
Explanation:
mod-ality
mode, in music. 1. A grouping or arrangement of notes in a scale with respect to a most important note (in the pretonal modes of Western music, this note is called the final or finalis), and the patterns of larger and smaller steps (in Western music, whole and half steps) which these notes form. 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 range of each mode was an octave. The “authentic” mode has its final at the bottom (and top) of its octave, the “plagal” mode ranges from the fourth below the final to the fifth above it. Although Greek names came to be used for these modes—Dorian, Phrygian, Lydian, mixolydian, hypophrygian, etc.—there is no proof of direct relation to Greek theory. These eight modes were the basis for 11 centuries of musical composition. Freely treated, they have reappeared in the works of some 20th-century composers such as Vaughan Williams. In the late Middle Ages and during the Renaissance certain other modes were adopted, and in 1547 the Swiss theorist Glareanus described 12 as useful for composition. In the late 16th cent. and early 17th cent. the series was condensed in the major and minor modes in use today. The use of medieval modes by later composers is called modality in contrast to tonality. An extension of the term mode allows its application to the tonal systems of Hindu music, Arabian music, and Byzantine music.

See G. Reese, Music in the Middle Ages (1940); E. A. Wienandt, Choral Music of the Church (1965).

Selected response from:

Ray Luo
United Kingdom
Local time: 23:47
Grading comment
Thank you!
4 KudoZ points were awarded for this answer

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Summary of answers provided
4 +1一种古代风行的而现在不入耳的音乐
Ray Luo


  

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3 hrs   confidence: Answerer confidence 4/5Answerer confidence 4/5 peer agreement (net): +1
一种古代风行的而现在不入耳的音乐


Explanation:
mod-ality
mode, in music. 1. A grouping or arrangement of notes in a scale with respect to a most important note (in the pretonal modes of Western music, this note is called the final or finalis), and the patterns of larger and smaller steps (in Western music, whole and half steps) which these notes form. 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 range of each mode was an octave. The “authentic” mode has its final at the bottom (and top) of its octave, the “plagal” mode ranges from the fourth below the final to the fifth above it. Although Greek names came to be used for these modes—Dorian, Phrygian, Lydian, mixolydian, hypophrygian, etc.—there is no proof of direct relation to Greek theory. These eight modes were the basis for 11 centuries of musical composition. Freely treated, they have reappeared in the works of some 20th-century composers such as Vaughan Williams. In the late Middle Ages and during the Renaissance certain other modes were adopted, and in 1547 the Swiss theorist Glareanus described 12 as useful for composition. In the late 16th cent. and early 17th cent. the series was condensed in the major and minor modes in use today. The use of medieval modes by later composers is called modality in contrast to tonality. An extension of the term mode allows its application to the tonal systems of Hindu music, Arabian music, and Byzantine music.

See G. Reese, Music in the Middle Ages (1940); E. A. Wienandt, Choral Music of the Church (1965).



Ray Luo
United Kingdom
Local time: 23:47
Native speaker of: Native in ChineseChinese
PRO pts in category: 8
Grading comment
Thank you!

Peer comments on this answer (and responses from the answerer)
agree  Danbing HE
5 days
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