Classification of musical key or scale in ancient Greek music theory
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In the musical system of ancient Greece, an octave species (εἶδος τοῦ διὰ πασῶν, or σχῆμα τοῦ διὰ πασῶν) is a specific sequence of intervals within an octave.[1] In Elementa harmonica, Aristoxenus classifies the species as three different genera, distinguished from each other by the largest intervals in each sequence: the diatonic, chromatic, and enharmonic genera, whose largest intervals are, respectively, a whole tone, a minor third, and a ditone; quarter tones and semitones complete the tetrachords.
The concept of octave species is very close to tonoi and akin to musical scale and mode, and was invoked in Medieval and Renaissance theory of Gregorian mode and Byzantine Octoechos.
ancient Greece, an octavespecies (εἶδος τοῦ διὰ πασῶν, or σχῆμα τοῦ διὰ πασῶν) is a specific sequence of intervals within an octave. In Elementa harmonica...
In music, an octave (Latin: octavus: eighth) or perfect octave (sometimes called the diapason) is a series of eight notes occupying the interval between...
fourth, into several complex systems encompassing tetrachords and octaves, as well as octave scales divided into seven to thirteen intervals. Any discussion...
harmonia, sometimes called Phrygian, formed on a particular set of octavespecies or scales; the medieval Phrygian mode, and the modern conception of...
from Ephesus. It is a Hellenistic Ionic song in either the Phrygian octavespecies or Iastian tonos. While older music with notation exists (for example...
one of the ancient Greek harmoniai or tonoi, based on a particular octavespecies or scale; one of the medieval church modes; or a modern musical mode...
diatonic octavespecies from C to the C an octave higher, divided at G (as its dominant, reciting tone/reciting note or tenor) into a fourth species of perfect...
Hypophrygian originates in an octavespecies of ancient Greek music theory. According to Aristoxenus, this octavespecies was originally described around...
Lydia in Anatolia. In Greek music theory, there was a Lydian scale or "octavespecies" extending from parhypate hypaton to trite diezeugmenon, equivalent...
tonos) is named after the Dorian Greeks. Applied to a whole octave, the Dorian octavespecies was built upon two tetrachords (four-note segments) separated...
literally meaning 'below Dorian', derives its name from a tonos or octavespecies of ancient Greece which, in its diatonic genus, is built from a tetrachord...
several classical authors on music theory, including Cleonides (as an octavespecies) and Athenaeus (as an obsolete harmonia), there is no warrant for the...
his newly defined ninth mode, with the diatonic octavespecies of the natural notes extending one octave from A to A—corresponding to the modern natural...
Hypolydian mode was described either as (1) the diatonic octavespecies from C to the C an octave higher, divided at the final F (C–D–E–F + F–G–A–B–C) or...
resulting eight tones (octoechos) had been identified with the seven modes (octavespecies) and tropes (tropoi which meant the transposition of these modes). The...
differences are shown here together with the Ancient Greek names of the octavespecies according to the Hagiopolites (see Hagiopolitan Octoechos) and to the...
Octoechos reform in 692. In general, the concept of echos denotes a certain octavespecies, its intervallic structure as well as a set of more or less explicitly...
identify the melodic genus (also called "genus of a tetrachord") and the octavespecies made by compounding two such tetrachords, and the rules governing the...
diatonic octavespecies from E to the E an octave above, divided by the final into a second-species fourth (semitone–tone–tone) plus a first-species fifth...
smaller-range note systems that did not contain all possible species of octave (i.e., the seven octaves starting from A, B, C, D, E, F, and G). A modified form...
or octaves between any two parts; and avoid "hidden" parallel fifths or octaves: that is, movement by similar motion to a perfect fifth or octave, unless...
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a higher part. Octave displacement is irrelevant to this aspect of musical grammar; for example, a parallel twelfth (i.e., an octave plus a fifth) is...
(1547) to the plagal mode on C, which uses the diatonic octavespecies from G to the G an octave higher, divided at its final, C. This is roughly the same...
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