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In this experiment, participants (nonmusicians) heard pairs of melodies and had to judge which of the two melodies was happier. Each pair consisted of a single melody presented in two different diatonic modes (Lydian, Ionian, Mixolydian, Dorian, Aeolian, or Phrygian) with a constant tonic of C; all pairs of modes were used. The results suggest that modes imply increasing happiness as scale-degrees are raised, with the exception of Lydian, which is less happy than Ionian. Overall, the results are best explained by familiarity: Ionian (major mode), the most common mode in both classical and popular music, is the happiest, and happiness declines with increasing distance from Ionian. However, familiarity does not entirely explain our results. Familiarity predicts that Mixolydian would be happier than Lydian (since they are equally similar to Ionian, and Mixolydian is much more common in popular music); but for almost half of our participants, the reverse was true. This suggests that the “sharpness” of a mode also affects its perceived happiness, either due to pitch height or to the position of the scale relative to the tonic on the “line of fifths”; we favor the latter explanation.

The question of 17th-century tonality has intrigued scholars for years: how to make sense of a repertoire in which modal concepts appear to coexist with elements of common-practice tonality. Although the system of modes and that of modern tonality are different constructions, the aspect of functional tonality that allows for the presence of major and minor keys at all 12 levels of transposition developed in part from an extension of a technique carried over from modal practice, that of transposition of mode. Nowhere is this process of tonal expansion based on the concept of transposition of mode as clear or as well structured as in the music of Giacomo Carissimi (1605-1674), the Roman composer of oratorios, cantatas, and motets whose output spans the central 40 years of the 17th century. A close examination of Carissimi's music provides us with a snapshot of the expansion of tonality via transposition and, in addition, offers important suggestions for understanding the tonal practices of contemporaries such as Monteverdi and Cavalli. In Carissimi's music, four basic tonalities are still clearly distinguishable, recognizable through unique and predictable cadence patterns. They appear at transposition levels ranging from the three-flat to the three-sharp systems, with the one-flat system conspicuous in its absence. As shown, the core of eight central keys demonstrates key pairing in a way that models the traditional authentic-plagal relationship of modes. An overview of Carissimi's tonal system demonstrates how the ap- parent coexistence of functional tonality and much older concepts of mode and hexachord can be understood to be part of a rational and organized system. This study explores Carissimi's tonal scheme through an examination of his cantatas, the repertoire displaying the widest tonal range. Based on characteristic cadence frequencies, opening transpositions, and previously unrecognized standard cadence patterns, it is possible to determine the nature of the four primary tonalities and their relationships to one another. These cadence patterns also appear as organizing principles in works of several other 17th-century composers and suggest future avenues of research. The final section summarizes the conservative and progressive features of Carissimi's tonal system, relates his practice to discussion of transposition in two popular treatises of the time, Giovanni Maria Bononcini'sMusica pratticoand Lorenzo Penna'sLi primi albori musicali, and compares Carissimi's practice to the system of church keys (based on common transpositions of the psalm tones) prevalent in the 17th century. A study of Carissimi's cantatas thus reveals the existence of a truly distinct 17th-century tonal practice which functions on its own terms at the same time as it exhibits concepts derived from traditional modal and hexachordal theory, as well as contemporary practices of psalmody and small-scale functional tonality.

1° Rondeau Ay las! quant je pans In the music theory of the fourteenth century polyphonists, who superimposed flat and sharp signs at the fifth from one another in the key signature did not indicate enharmony, but the syllables of solmization fa-fa and mi-mi identifying two species of fifths in the octaves G-g and C-c of the natural scale used for the presentation of the twelve modes of Glarean's Dodecachordon, in regular position or \"On the white keys of the piano\". Fa-fa for a version leaning on the relative flat side of the system, while mi-mi for a version leaning on the sharp side of it; the first in the expression of the Hypolydian (6th) mode in regular position, while the second in a version in the Ionian (11th) mode once transposed on the sharp side of the hexachords. 2° Dosso Dossi's double canon Allegory of Music The flat sign (b) cued the fa of the la-fa semitone in a relative flat scale for a canon in sacred music, but the la of the la-fa semitone in a relative sharp scale for a canon in secular music.

We examined, by historical and empirical means, relations among text (positive, negative), mode (Ionian, Phrygian), and medium (organ, vocal) in settings of a popular Christian melody from the baroque era. A descriptive analysis of 51 representative settings indicated that baroque composers tended to link Ionian settings of the melody to a \"salvation\" text and Phrygian settings to a \"condemnation\" text. They also set vocal pieces more frequently in the Ionian mode and organ pieces in the Phrygian mode. A series of experiments confirmed that contemporary adult and child listeners linked reward texts to the Ionian mode and punishment texts to the Phrygian mode, with the internal cadence structure of the settings affecting such links. Moreover, adult listeners associated these texts differentially with organ and vocal settings.

This article reports an experiment that tested whether two types of tonally strong tone series are equally well recognized. The experiment also tested whether tonally weak series are less well recognized than tonally strong series, tonally strong series being transformed into tonally weak series by changing from the ionian to the phrygian church mode. The results show that (1) both types of tonally strong series are, on average, equally well recognized and (2) series presented in the phrygian mode are less well recognized than series presented in the ionian mode. The implications of these findings for research into tone-series recognition are discussed.

Taking the dispute over the seriousness of Poussin's use of the theory of the modes as a starting point, examines the way that the concept was introduced into the Academy's discourses by Charles Le Brun in 1668, and how it developed for the next 200 years.

Provides a critical analysis of the lydian and mixolydian modes developed by Henricus Glarean within the framework of his modal system published in Basel in 1547. Discusses how these modes were considered and applied by music theorists and composers until approximately 1650. Mentions works by Gallus Dreßler, Conrad Matthaei, Andreas Raselius, Ludwig Senfl, Philipp de Monte, and Orlando di Lasso, among others. Includes musical notation for Raselius' six-part lydian motet \"Und du, Kindlein, wirst ein Prophet des Höchsten heißen\" (\"And You, Child, Will Be Called a Prophet of the Most High\").

Provides a music-historiographical analysis of modes dating from approximately 1540-1650 and their acceptance in contemporary music-historical writings. Examines research published since 1950, including the work of Siegfried Hermelink, Carl Dahlhaus, Wendelin Müller-Blattau, Harold S. Powers, Anne Smith, and Bernhard Meier. Discusses the world philosophy of Georg Wilhelm Friedrich Hegel within the context of contemporary music-historical research.