Page:Cyclopaedia, Chambers - Volume 2.djvu/214

 MOD

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MOD

Pligitl. Authentic.

g've. S*e.

4 th 5 (h 4.1k

po^n r\y-^i ru>*o

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by adding new Chords, or altering the tuning of the old. It this were the true nature, and ufe of the Tone?, molt of ihck Modes mult be imperfect, and incapable of good Melody, as wanting fome of thofe which we reckon the eflcntiai-arTcj natural Notes of a true Mode. Again, if the elTential difference of the Modes coniift only in the Gravity or Acutenefs of the whole Octave, then we may fuppofe one Species or concinnous Diviiion of the Octave, which being apply 'd to all the Chords of theSyi'lem, makes them true Fundamentals for a certain Series of fuccefifive Notes, by changing, as above, the Tone of certain Chords in fome cafe.', or by adding new Chords to the Syflem. But that muii have been a fimple kind of Melody, produced by admitting only one concinnous Series, and that too want- ins fome ufeful and neceffary Chords.

Murk was considerably improved in the Xlth Century, by Gttttio Aret'mus i who, among other Innovations, reformed the Doctrine of Modes. It is true, they were tti 1 defined by the Species of the Octave, in Ptolemy's manner, and their number was fix'd to feven j but afterwards taking occafion to confidcr the Harmonica! and Arithmetical Drvjfii ns of the Octave, whereby it refolves into a 4th above a 5th, or a 5th above a 4th, they hence conttitated 12 Modes, making of each Octave two different Modts t according to this different Divifion ; but becaufe there are two of them that cannot be divided both ways, there are but 12 Modes. Of thefe, fuch as were divided harmonically! that is, with the 5'hs loweil (which were fix) were call'd Authentic j and the other fix which had the 51ns highett, were call'd Plagai Modes. See the Scheme annex*ch

To thefe Modes, they gave the Names of the antient Greek Tones, as 'Dorian, Phrygian, Lydi.iji .- But the feveral Authors differ in rhe Ap- plication and Order of thefe Names. S. that we are Hill in grear meafure at a lofs what they meant by thofe diftinclicns, and what their real ufe was. The bttl Account we can give is this ; They confider'd that an Octave which wants a 4th or 5th, is

«— — a— — e a imperfect ; thefe being the Concords

next to Octave, the Song ought to touch thofe Chords tnoft fiequently and remarkably ; and becaufe their Concord is different, which mikes the Melody different, they eitablifhed by this two Modes in every na- tural Octave that had a true 4th and 5th : Then, if the 1 Song was carried as far as this Octave above, itwas call'd a ferfetl Mode ; if lefs, as to the 4th or 5th, it wac im- ferfeft ; if it moved both above and below, itwas call'd umix'd Mode. Thus it is fome Authors fpeak about thefe Jvhdes. Other?, confidcring how indifpenfible a Chord the 5th is in every Mode, they took for the final, or Key-Note in tbe Arithmetically divided Octaves, not the loweff Chord of that Octave, but that very 4th. The only diffe- rence then in this Method between the Authentic and Pla- gal Modes is, that the Authentic goes above its Final to the Octave ; the other afcer.ds a 5 th, and defcends a 4th j which will indeed be attended with different Effects, but the Mode is effentially the lame, having the fame final to which alt the Notes refer. We are now to coniider wherein the Modes of one Species, as Authentic, or Plagai, differ among themfelvcs. This muff either be by ffancfing higher or lower in the Scale, /. e. by the different Tcnfion of the whole Octave, or rather by the different Subdivifion of the Octave into its concinnous Degrees; there can be no other. We are to coniider then, whether thefe Differences are fufficient to produce fuch very different Effects as are afcribed to the feveral Modes ■> for iniiance, that the one produces Mirth, another Sadoefs, a third is proper for Re- ligion, a fourth for Love, ci'c- That thefe Effects are owing merely to the Conilitution of the Octave, fcarceany body will affirm. The differences in the Conilitution will, indeed, have fome influence, but it will be fo little, as that by the various Combinations of other Caufes, one of thefe Modes may be ufed to different purpofes. The greateff. difference is that of thofeOctaves which have the 3d /, or 3dg, making what on other occafions we call the Sharp and Flat Key.

However, if the Modes depend upon the Species of Oc- taves, how can they be mere than feven ? And as to the ditlinclion between Authentic and Plagai, we havealready cbferved, that it is imaginary wi th refpect to any effential Difference conflituted thereby in the Kind of the Melody ; for tho' the carrying the Song above or below the Final, may have different Effects, yet this is to be afcribed to other Caufes bciidcs the Conilitution of the Octaves. It is particularly obfervable, that thofe Authors who give us Examples in actual Composition of their twelve Modes y frequently take in the Artificial Notes # and fe, to per- fect the Melody of their Key ■-, and by this means depart from the Conilitution of the Octave, as it Hands fix'd in

the natural Syflerm There is nothing certain or confident therefore in their way of fpeaking 3 but the Modes aac all really reduciole to two, viz. the Sharp and Flat ; the oth-r difference* refpecftng only the Place of the Scale where the fundamental is taken.

The antient Modes, befides their general Divifion into Authentic and Plagai, had aifo their refpective Names from the levcral Creek Provinces where they are fuppofed to have been invented. Originally, indeed, there were but three, w». Done, Lyd-av, and Phrygian ; which were par- ticularly call d Tones, becaufe at a Tone's diftance from one another. The reft were added afterwards, and were lome ot them named from the relations they bore to the former, particularly xhc fyfo-Donc, as being below the Doric.

The Doric Mode was a mixture of Gravity and Mirth invented by Tbnnirxs of Thrace. See Doric.

The Phrygian Mode was adapted to the kindling f Rage ; invented by Marjyas the Phrygian. See Phry- gian.

The Lydian Mode was proper for Funeral Songs 5 in- vented, according tt. ■ Plmy t by Amphtin. S-eLYDiAN.

The Myxoloduin was invented by Sappho.

The J&olic, Ionics and Hypo-Doric were invented by Phi* loxemis.

The Hyfo-Lydian by Polymnejles.

Befides thefe Modesof Tune, old Authors have alfo intro- duced Modes of Time, orMeafures of Notes.

Thefe at firlt were diffingui/hed into Greater and Lefs, and each of thefe again into PerfeB and Imperfeft. But after- wards they reduced all into four Modes, which included the whole Bufinefs of Txmes. As thofe Modes are now difufed, they are hardly worth the reciting.

The common Mode now in ufe, is much more Simple and Natural than any of thofe 5 the Proportion, which in theirs varied, being in ours fix'd, viz. 2 t 1. A Large equal to two Long j a Long to two Breves ; a Breve to two Semi- breves, ggje. proceeding in the fame Proportion to the laft or loweil Notes. And if on fome Occasions the Proportion of 3 : 1 betwixt two fucceiTive Notes is required, it is eafily exprefs'd by annexing a Point ( . ). See Time, Note, i$c.

The Antients had likewife their Modi Melopoeije, of which Ariflides names thefe, Dithyrambic, Now;c, and Tragic % call'd Modes from their expreffing the feveral Motions and Affectionsof the Mind. See Melopoeia.

MODEL, an Original, or Pattern prop ofed for anyone to copy or imitate.

St. Paul's Church is faid to be built on the Model of St. Peter's at Rome.

Model is particularly ufed in Building for an Artificial Pattern, made of Wood, Stone, Plaifler, or other Matter* with all i:s Parts and Proportions ; in order for the better Conducting and Executing of fome great Work, and to give an Idea of the Effect it will have in Large.

In all large Buildings, iris much the furell way to make a Model in Relievo $ and not to trull to a bare Defign, or Draught. See Design.

There are alfo Models for the Building of Ships, c^c* for extraordinary Stair-Cafes, $£c.

Model, in Painting and Sculpture, is any thing propofed to be imitated.

Hence in the Academics they give the Term Model to a naked Man, difpofed in feveral Pollures, to give an Op- portunity for the Scholars to defign him in various Views and Attitude. 1 '.

The Sculptors have little Models of Clay or Wax to affnf them in their Defigns of others that are larger in Marble, &c, and to judge of the Attitude and Correctnefs of a Figure. See Figure.

The Statuaries likewife give the Name Model to certain Figures of Clay or Wax, which are but juft fafhion'd, to fcrvc by way of Guide for the making of larger, whether of Marble, or other Matter. See Statue.

MODERATOR, in the Schools, the Perfon who pre- fidesat a Difpute,or at a public AfTembly. See President.

Such a.Doctor was the Moderator, the Prefident at fuch a Difputation ; in fuch an Affembly, £5*c.

MODERN, fomethingnew, or of our Time; in oppo- sition to any thing Antique, or Antient. '

Modern //c.'/jocj, according to Nauda, are all thofe that have wrote fince Boetius. The Modern Philofophy com- mences with GaliUus. The Modern Aflronomy with Co- pemicus. See Philosophy and Astronomy.

Modern Medals are all thofe that have been Itrucfc within thefe 300 Years. See Medal.

Modern in Architecture, is improperly apply'd to the prefenr, or Italian Manner of Building ; as being according to the Rules of the Antique. See Antiqjje. Nor is the Term lefs abufed, when attributed to Architecture purely Gothic. See Gothic.

Modern ArchiteBure, in firictnefs, « only applicable to

that which partakes partly of the Antique, retaining fome-

7 E what.