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Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and Gregorian modes borrow terminology from ancient Greece , the Greek tonoi do not otherwise resemble their medieval/modern counterparts.
Characteristic modes (CM) form a set of functions which, under specific boundary conditions, diagonalizes operator relating field and induced sources. Under certain conditions, the set of the CM is unique and complete (at least theoretically) and thereby capable of describing the behavior of a studied object in full.
A plagal mode (from Greek πλάγιος 'oblique, sideways, athwart') [7] [8] has a range that includes the octave from the fourth below the final to the fifth above. The plagal modes are the even-numbered modes 2, 4, 6 and 8, and each takes its name from the corresponding odd-numbered authentic mode with the addition of the prefix "hypo-": Hypodorian, Hypophrygian, Hypolydian, and ...
Medieval modes (also called Gregorian mode or church modes) were numbered, either from 1 to 8, or from 1 to 4 in pairs (authentic/plagal), in which case they were usually named protus (first), deuterus (second), tertius (third), and tetrardus (fourth), but sometimes also named after the ancient Greek tonoi (with which, however, they are not ...
The mode of a sample is the element that occurs most often in the collection. For example, the mode of the sample [1, 3, 6, 6, 6, 6, 7, 7, 12, 12, 17] is 6. Given the list of data [1, 1, 2, 4, 4] its mode is not unique. A dataset, in such a case, is said to be bimodal, while a set with more than two modes may be described as multimodal.
The Ionian mode is a musical mode or, in modern usage, a diatonic scale also called the major scale.It is named after the Ionian Greeks.. It is the name assigned by Heinrich Glarean in 1547 to his new authentic mode on C (mode 11 in his numbering scheme), which uses the diatonic octave species from C to the C an octave higher, divided at G (as its dominant, reciting tone/reciting note or tenor ...
Once a set of modes has been calculated for a system, the response to any kind of excitation can be calculated as a superposition of modes. This means that the response is the sum of the different mode shapes each one vibrating at its frequency. The weighting coefficients of this sum depend on the initial conditions and on the input signal.
One: a mode is something that can be socially or culturally shaped to give something meaning. Images, pieces of writing, and speech patterns are all examples of modes. [6] Two: modes are semiotic, shaped by intrinsic characteristics and their potential within their medium, as well as what is required of them by their culture or society. [7]