MODE CLASSIFICATION IN PRACTICE
As continually emphasized in this discussion, modal theory arose out of an attempt at classifying the existing Gregorian chant, particularly the antiphons, as an aid to mastering an enormous body of material that had somehow to be committed to melodic memory. Modal theory was thus one of the very many aspects of medieval music-making that originated, very humbly, as mnemotechnics (memory aids). Every chant was eventually assigned a modal classification in the tonaries, and eventually in the graduals and antiphoners themselves, including the modern chant books from which some of the examples in the previous chapters were taken. Let us now cast an eye back over some of those examples and see how modal classification worked in practice.
- Citation (MLA):
- Richard Taruskin. "Chapter 3 Retheorizing Music." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 3 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-003004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 3 Retheorizing Music. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 3 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-003004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 3 Retheorizing Music." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 3 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-003004.xml