「利用者:MatreshkaB/sandbox」の版間の差分

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。（ディアトニックなゲノスでの）古代ギリシアのフリギア「トノス」に基づくオクターブ種(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、この名の「ハルモニアharmonia」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 オクターブ種は1つの全音を挟んだ2つのテトラコルドの上に構築される。これはピアノの白鍵をD to からD:へ弾いたものに相当する。

This scale, この音階は、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).