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The Dorian mode (properly harmonia or tonos) is named after the Dorian Greeks.Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the hypate meson to the nete diezeugmenon.
The Dorian mode, and Aeolian dominant scale (Dorian ♯3 ♭6 scale), and Neapolitan major scale (Dorian ♭2 ♯7 scale), and double harmonic scale (Dorian ♭2 ♯3 ♭6 ♯7 scale), are all self-dual. [citation needed] However, there are no harmonic scales that are self-dual.
The octave species (scale) underlying the ancient-Greek Phrygian tonos (in its diatonic genus) corresponds to the medieval and modern Dorian mode. The terminology is based on the Elements by Aristoxenos (fl. c. 335 BCE), a disciple of Aristotle. The Phrygian tonos or harmonia is named after the ancient kingdom of Phrygia in Anatolia.
His system was based on seven "octave species" named after Greek regions and ethnicities – Dorian, Lydian, etc. This association of the ethnic names with the octave species appears to have preceded Aristoxenus, [ 19 ] and the same system of names was revived in the Renaissance as names of musical modes according to the harmonic theory of that ...
Locrian is the word used to describe an ancient Greek tribe that habited the three regions of Locris. [1] Although the term occurs in several classical authors on music theory, including Cleonides (as an octave species) and Athenaeus (as an obsolete harmonia), there is no warrant for the modern use of Locrian as equivalent to Glarean's hyperaeolian mode, in either classical, Renaissance, or ...
The clavichord is an example of a period instrument.. In the historically informed performance movement, musicians perform classical music using restored or replicated versions of the instruments for which it was originally written.
Tilney has a long discography of harpsichord and fortepiano performances from labels including Dorian, Deutsche Harmonia Mundi, L'Oiseau-Lyre, EMI Reflexe, Nonesuch, Vangard, DoReMi and several others.
The Yale Morris Steinert Collection of Musical Instruments, a division of the Yale School of Music, is a museum in New Haven, Connecticut.It was established in 1900 by a gift of historic keyboard instruments from Morris Steinert, and later enriched in 1960 and 1962 by the acquisition of the Belle Skinner and Emil Herrmann collections.