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MatreshkaB (会話 | 投稿記録)
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[[File:Phrygian mode C.png|thumb|right|300px|Cの上の現代フリギア旋法{{audio|Phrygian mode C.mid|Play}}.]]
[[File:Respighi Trittico Botticelliano.png|thumb|right|400px|[[レスピーギ]]の ''ボッティチェッリの3枚の絵（Trittico Botticelliano）'' (Botticelli Triptych, 1927).(Benward & Saker 2009), p.244)におけるA上のフリギア旋法の使用例、 {{audio|Respighi Trittico Botticelliano.mid|Play}}]]
'''フリギア旋法'''（または英語でフリジアン・モード）とは、2つの異なる[[旋法]]を指す。第一に{{仮リンク|オクターブ種|en|octove species}}つまり音階の特定の一揃いの上で組織された、フリギア旋法と時に呼ばれた古代ギリシアの「トノス(tonos)」や「ハルモニア(harmonia)」、第二に中世のフリギア旋法と、後者に基づいた[[全音階]]としての現代の受容である。
 
==古代ギリシアのフリギア旋法 ==
8行目:
フリギアの「トノス」や「ハルモニア」は[[アナトリア]]の古代王国[[フリギア]]からその名を得ている。オクターブ種(音階)はunderlying the ancient-Greek Phrygian ''tonos'' (in its diatonic genus) は中世と現代の[[ドリア旋法]]に対応する。
 
ギリシア音楽理論では、the ''この名の「ハルモニアharmonia'' given this name was based on a ''」は「トノスtonos'',に基づき、 in turn based on a scale or [[octave species]] built from a [[tetrachord]] which, in its diatonic genus, consisted of a series of rising intervals of a [[major second|whole tone]], followed by a [[semitone]], followed by a whole tone (in the chromatic genus, this was a minor third followed by two semitones, and in the enharmonic, a major third and two quarter tones). An [[octave species]] was then built upon two of these tetrachords separated by a whole tone. This is equivalent to playing all the white notes on a piano keyboard from D to D:
D E F G | A B C D
This scale, combined with a set of characteristic melodic behaviours and associated [[ethos|ethoi]], constituted the ''harmonia'' which was given the ethnic name "Phrygian", after the "unbounded, ecstatic peoples of the wild, mountainous regions of the Anatolian highlands" (Solomon 1984, 249). This ethnic name was also confusingly applied by theorists such as Cleonides to one of thirteen chromatic [[transposition (music)|transposition]] levels, regardless of the intervallic makup of the scale (Solomon 1984, 244–46).
 
== 中世フリギア旋法 ==
初期[[カトリック教会]]は8つの旋法を発明し、それに中世の学者は that medieval music scholars gave names drawn from the ones used to describe the ancient Greek ''harmoniai''. The name "Phrygianフリギア旋法" was applied to the third of these eight の名は８つの[[church modes教会旋法]], the authentic mode on の第３番目に与えられた。E,上の正格旋法で、 described as the diatonic octave extending from E to the E an octave higher and divided at B, therefore beginning with a semitone-tone-tone-tone pentachord, followed by a semitone-tone-tone tetrachord (Powers 2001):
E F G A B + B C D E
 
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