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A Study of Developmental History of Church Mode: From Ancient Greece to 16th centuries

조경아 1

1이화여대

Candidate

ABSTRACT

The theory and practice of musical scale was first started since the Ancient times. The formation of church mode was influenced by Ancient Greek modes and Byzantine oktoechos. From early medieval stages of music(the 6th century) to Renaissance(the 16th century), the church modes were used mostly in order to classify and organize the chant in the church use. Churches needed a particular system for educating singers as well as for spreading the chant. Therefore, they had begun to establish their own system of modes and use them in practical purpose. In this dissertation, the development of church mode are historically examined by reading various theoretical treaties. Several example are analyzed to understand various usages of modes in music. My conclusions are following. In this dissertation, using diachrony, the theories of church mode were adjusted in historial sequence, and analyzed their characters in musical pieces. Church mode wasn’t only musical material but also factor that was merged musical theories and practices from Ancient Greece to modern era in diachrony, so, it is in need of extensive researches. By the development of polyphony and the expansion of musical range in medieval and renaissance music, only species of church mode were distinguished, but authentic and plagal were not. Since Glareanus found a new theory of aeolian and ionian, those two modes were took a major role, and Zarlino devided 5th into two 3rds, unlike his antecedents who divided octave into 5+4, or 4+5. In South Korea, several studies on the theory and use of church mode has begun since 1984. However, it is still the beginning stage of the research. In this dissertation, I have approached the theories of church mode in historial sequence by analyzing the theoretical treaties from the ancient time to medieval era. Starting with Ptolemy’s Harmonics(the mid-2nd century), I have read the following articles: an anonymous author’s Musica Enchiriadis(9th century), Guido d’Arezzo’s Micrologus(11th century). The historical understanding of studying church mode is significant not only because of its theoretical implication to the current scalar system of Western art music but also how musical theories are combined with the actual compositions throughout the music history. This research can be the foundation of more profound historical understanding of use of church mode in each historical era in the Western music history.

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