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In medieval music, the rhythmic modes were set patterns of long and short durations (or rhythms). The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a "ligature", and by the position of the ligature relative to other ligatures. Modal notation was developed by the composers of the Notre Dame school from 1170 to 1250, replacing the even and unmeasured rhythm of early polyphony and plainchant with patterns based on the metric feet of classical poetry, and was the first step towards the development of modern mensural notation . The rhythmic modes of Notre Dame Polyphony were the first coherent system of rhythmic notation developed in Western music since antiquity. ==History== Though the use of the rhythmic modes is the most characteristic feature of the music of the late Notre Dame school, especially the compositions of Pérotin, they are also predominant in much of the rest of the music of the ''ars antiqua'' until about the middle of the 13th century. Composition types which were permeated by the modal rhythm include Notre Dame organum (most famously, the organum triplum and organum quadruplum of Pérotin), conductus, and discant clausulae. Later in the century, the motets by Petrus de Cruce and the many anonymous composers, which were descended from discant clausulae, also used modal rhythm, often with much greater complexity than was found earlier in the century: for example each voice sometimes sang in a different mode, as well as a different language. In most sources there were six rhythmic modes, as first explained in the anonymous treatise of about 1260, ''De mensurabili musica'' (formerly attributed to Johannes de Garlandia, who is now believed merely to have edited it in the late 13th century for Jerome of Moravia, who incorporated it into his own compilation) . Each mode consisted of a short pattern of long and short note values ("longa" and "brevis") corresponding to a metrical foot, as follows : # Long-short (trochee) # Short-long (iamb) # Long-short-short (dactyl) # Short-short-long (anapaest) # Long-long (spondee) # Short-short-short (tribrach) Although this system of six modes was recognized by medieval theorists, in practice only the first three and fifth patterns were commonly used, with the first mode being by far the most frequent . The fourth mode is rarely encountered, an exception being the second clausula of ''Lux magna'' in MS Wolfenbüttel 677, fol. 44 . The fifth mode normally occurs in groups of three and is used only in the lowest voice (or tenor), whereas the sixth mode is most often found in an upper part . Modern transcriptions of the six modes usually are as follows: # Quarter (crotchet), eighth (quaver) (generally barred, therefore, in 3/8 or, because the patterns usually repeat an even number of times, in 6/8 (Apel 1961, 221)) File:Rhythmic mode 1.PNG # Eighth, quarter (barred in 3/8 or 6/8) File:Rhythmic mode 2.PNG # Dotted quarter, eighth, quarter (barred in 6/8) File:Rhythmic mode 3.PNG # Eighth, quarter, dotted quarter (barred in 6/8) File:Rhythmic mode 4.PNG # Dotted quarters (barred in either 3/8 or 6/8) File:Rhythmic mode 5.PNG # Eighths (barred in 3/8 or 6/8) File:Rhythmic mode 6.PNG *Cooper (1973, 30) gives the above but doubled in length, thus 1) is barred in 3/4, for example. *Riemann (1962, 135) is another modern exception, who also gives the values twice as long, in 3/4 time, but in addition holds that the third and fourth modes were really intended to represent the modern , with duple rhythms ( and , respectively). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Rhythmic mode」の詳細全文を読む スポンサード リンク
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