Modern music and musicians : [Encyclopedic] . fer inspiration;while the Lydian, our major mode, was consideredenervating and sensuous (vide Miltons reference inLAllegro to soft Lydian airs). The ecclesiasti-cal scales, the notation of which, associated with thenames of Ambrose and Gregory, was the work of theearly Christian Church, do not correspond exactly tothe Greek originals whose names they borrow, butpossess characters equally energetic. Since harmonyand modulation have displaced polyphony, many ofthem have dropped out of popular use, except in theservice of the Church, where they surviv
Modern music and musicians : [Encyclopedic] . fer inspiration;while the Lydian, our major mode, was consideredenervating and sensuous (vide Miltons reference inLAllegro to soft Lydian airs). The ecclesiasti-cal scales, the notation of which, associated with thenames of Ambrose and Gregory, was the work of theearly Christian Church, do not correspond exactly tothe Greek originals whose names they borrow, butpossess characters equally energetic. Since harmonyand modulation have displaced polyphony, many ofthem have dropped out of popular use, except in theservice of the Church, where they survive in thechants. But an examination of the peoples music ofEurope as late as the 17th century reveals a wealth ofmelody in these almost forgotten keys. It is onlynecessary to open a volume of Norwegian melodiesto recognize one after another in spite of the altera-tions time has brought them, as having originatedin these ancient tonalities.— The Editors. EDVARD HAGERUP GRIEG 257 From the concerto Op. 16, last movement m pp quasi a lem/x>.. * Fed. This passage, as it occurs in the concerto, pro-duces in contrast with what lias preceded it,a somewhat vague and dreamy effect, whichis extremely beautiful, and suggestive of per-fect repose. If the harmonies upon which itis constructed are presented in their simplestform, together with the chord progressions,the effect is harsh indeed, viz.: :5S= P s kl fc * 3= The consecutive fifths, occurring in the outervoices of the last two chords, are bald in theextreme.
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Keywords: ., bookcentury1900, bookdecade1910, bookidmode, booksubjectmusicians
