| Ambitus:
The compass of tones used in a scale, mode, or melody.
Axiality (musical): Literally "the direction
from a point of origin", in biblical chant it means the innate relationship of a tone to a tonic note within
a tonality. This relationship ("tension") defines the punctuational values of each tone within the biblical
tonality or a specific work.
Chironomy: The use of gestures of the
hand, fingers and/or forearms to represent musical values. Gestures were also used to mime or accompany dance,
or as a form of religious symbolism.
Chromatic (scale or mode): Based on a
series of half-steps (as is the piano scale).
Diatonic (scale or mode): Based on a series
of steps and half-steps (intervals ultimately derived from simple harmonic ratios). A diatonic octave has eight
degrees. The one-octave major scale (C to C) is sometimes called "the diatonic scale"; in all, there
are seven diatonic modes that may be derived from the diatonic scale.
Diatonic-chromatic (scale or mode): Based
on a series of steps, half-steps and one-and-a-half steps. (An interval of one and a half-steps is a chromatic interval).
Enharmonic (scale or mode): In the sense
we use it here, based on a series of intervals which may be smaller or larger than the steps, half steps, etc.,
found in diatonic and diatonic-chromatic scales and modes. Enharmonic scales and modes are commonly derived from
diatonic and diatonic-chromatic scales and modes.
Ethos (from Greek): Literally "usage"
(by habit or by law), ethos refers here
to the "moral force" of music (that is, its ability to influence the character or behavior of the listener).
Different cultures have had different concepts of musical ethos, from the purely theological or even magical to the theoretical and philosophical.
Heptatonic (scale, mode): Based on seven
tones. Heptatonic scales and modes are most often diatonic or diatonic-chromatic as well.
Ketiv: An Aramaic word, meaning that which
is "written" in the biblical text (rather than what should be read instead).
Logogenic (vocal music): "Word-born"
music, in which the verbal text completely dominates; the melody has little or no tonal syntax independent from
that of the words. Logogenic (like pathogenic)
music is characteristic of primitive and folk cultures.
Melogenic (vocal music): "Melos-born" music (see melos), in which verbal and musical syntaxes are each inherent, yet interwoven. Melogenic music
is "art song", and characteristic of high civilization in all times and places.
Melos (from Greek): "melody-words",
i.e., the combination of words and melody into an organic whole. More generally, melos may include considerations of rhythm, harmony, instrumental accompaniment, choral setting,
and acoustic and other contexts in performance.
Modality (musical): In the broadest sense,
the hierarchical arrangement of musical motives in a melody or melodic system, relative to a conclusive motive.
More commonly (as in this book), the arrangement of intervals in a scale or melody relative to a tonic note.
Mode (musical): In this book (and commonly
in music theory), a specific arrangement of intervals between tones relative to a tonic note.
Ornamentation (musical): The rhythmic
variation of the melodic line; the "addition" of tones to those which define the melodic framework.
Pathogenic (vocal music): "Passion-born"
music in which the melody dominates, being completely independent of verbal syntax or meaning (and thus often deficient
in tonality as well). Pathogenic (like logogenic) music is characteristic of primitive and folk cultures.
Pentatonic (scale or mode): Based on a
series of five degrees (as with the black keys of a piano).
Polarity (musical): The relative pitch
of a tone within the ambitus.
Qerê: An Aramaic word, meaning that
which is "read" in the public or private recitation of Scripture (rather than what is written, assumed
to be in error, or else too profane, too holy, etc., to be read aloud).
Scale: A specific series of musical tones,
the pitches of which are related to each other by harmonic ratios.
Syntax: In this book, the arrangement of
units with varying degrees and kinds of mutual affinity (as words in verbal texts, notes or groups of notes in
musical texts) into meaningful verses and phrases.
Texture (musical): Here, the movement
from one tone to another in a melody, which defines the melodic "action through time".
Tone: A specific note or degree of a scale,
with a specific functional role in the tonality of a musical work.
Tonality: In the broadest sense, musical
syntax: the hierarchical arrangement of musical tones into verses and phrases (in a musical work, or in a theoretical
system), relative to a tonic note. Tonality (in Western music) may also include the order, arrangement and hierarchical
structure of harmony, the key signature, and other factors.
Tonic: The tone which acts as the reference
point of tonality and modality; the "center of attraction" around which the placement of other tones
revolves. In tonal music (ancient and modern), the tonic is by far the most common tone ending a verse.
Typology (theological): "A theory
or doctrine of types, as in scriptural studies" (The American Heritage
Dictionary). A type
(which comes first in time order) sets the pattern for the antitype, just as the die makes the imprint opposite to the die. Thus Adam "was a type of him who was to come [Jesus Christ]" -- in
more ways than one (Romans 5:12-19; 1 Corinthians 15:42-49). Whereas the earthly Tabernacle and Temple were antitypical of heavenly realities (Hebrews 9:24), just
as baptism is an antitype of the salvation
of Noah's family in the Flood (1 Peter 3:21). |
