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Mode (music)
In the theory of Western music, mode (from Latin ''modus,'' "measure, standard, manner, way, size, limit of quantity, method") (; OED) generally refers to a type of scale, coupled with a set of characteristic melodic behaviours. This use, still the most common in recent years, reflects a tradition dating to the Middle Ages, itself inspired by the theory of ancient Greek music.
== Mode as a general concept ==
Regarding the concept of mode as applied to pitch relationships generally, Harold S. Powers proposed mode as a general term, but limited for melody types (see the section melos) which were based on the modal interpretation of ancient Greek octave species called tonos (τόνος) or harmonia (ἁρμονία) with "most of the area between ... being in the domain of mode" . This synthesis between tonus as a church tone and the older meaning associated with an octave species was done by medieval theorists for the Western monodic plainchant tradition (see Hucbald and Aurelian), but it was caused by a Carolingian import of the monastic Octoechos propagated in the patriarchates of Jerusalem (Mar Saba) and Constantinople (Stoudios Monastery) which meant the eight echoi they used for the composition of hymns (e.g. ). Nevertheless, Carolingian theorists did not simply use the same modes described in the Hagiopolites, they invented an own eight mode system which was used to structure the melodic memory of plainchant, since cantors were asked to learn the Roman repertoire. The Byzantine hymns were imported to Slavic chant traditions, when the monastic chant books (sticherarion, heirmologion) were translated in Ohrid and Novgorod. The translation of echos (ἦχος) was glas (гласъ "voice"). Hence, a system of eight glas can be found in later Russian Znamenny chant as well. Since the end of the eighteenth century, the term "mode" has also applied to pitch structures in non-European musical cultures, sometimes with doubtful compatibility . The concept is also heavily used in regard to the Western polyphony before advent of the so-called common-practice music, as for example "modale Mehrstimmigkeit" by Carl Dahlhaus or "Tonarten" of the 16th and 17th centuries found by Bernhard Meier (; ).
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