भाई बिना आवाज के संगीत कहाँ ?!! तुम्हारी विडियो में आवाज इतनी कम है कि सुनने के लिए ईयरफोन या एम्पलीफायर लगना पड़े !! कृपया इस समस्या पर ध्यान दें !! 🙏
It is difficult to confirm as it is not recorded in any approved articles/books. Even renowned books like these don’t explicitly mention about this The Cambridge History of Western Music Theory, ed. Thomas Christensen. New York: Cambridge University Press, 2006. Specific chapters referenced: "Greek Music Theory" by Thomas J. Mathieson; "Notes, Scales, and Modes in the Earlier Middle Ages" by David E. Cohen Source Readings in Music Theory, ed. and trans. Oliver Strunk and Leo Treitler. New York: W. W. Norton & Co., 1998. However, most of the theories support what I have mentioned. (And that's the reason I have not confirmed it but created visibility around it) But, this is the long story to it. The church modes consist of seven basic “modes” that were originally seven types of scales used in medieval music, and the foundation for what would later become Western Tonality The seven modes are Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. Ionian: C D E F G A B C Dorian: D E F G A B C D Phrygian: E F G A B C D E Lydian: F G A B C D E F Mixolydian: G A B C D E F G Aeolian: A B C D E F G A Locrian: B C D E F G A B When the ancestors of the piano were in use, much later in music history, the desire for a new key, the first black key, was called for, and so early keyboards in the 14th and 15th centuries had the Bb added. That meant that starting on the note, C, one could play the Ionian mode, as well as the Mixolydian, which are both very pleasing modes to our modern ears, considering Ionian is today, our major key, in contrast to the Aeolian mode, our natural minor key. And that’s where medieval modality fits into this equation. A was chosen as the basis of the Aeolian mode, because it was (and still is) a pleasant sounding and common mode to play in at the time. So, A was originally the start of a common scale/mode in the middle ages. It was when tonality was chosen over modality, that C became the preferred starting point, because it is the white-key Ionian mode’s pitch center. The Ionian and Aeolian modes were both crucial to the practice of tonality in music, but due to the way it turned out, they were made respectively major and minor, due to the Aeolian’s flat third, sixth, and seventh, when compared to Ionian, which is major largely because of it’s leading tone seventh, giving it a feeling of resolution. A isn’t the natural Ionian pitch center on our keyboard instruments, essentially because we’re looking at things from the present backwards- we think of C as the central pitch in music because it happened to be the most popular mode when tonality was born. To a medieval musician, however, all of the modes were roughly equal in importance- hence, A was chosen for Aeolian, whereas today, if we were to completely recreate our notational system, we would shift everything forward a minor third on the keyboard, such that A would be the natural Ioanian mode. It’s C instead of A because things just caught on that way, and it had already been ingrained into the formative training of most musicians of the time, so they would not have wanted to change things up when they shifted into tonal music. That is a reason, that when note names were developed, most of those "black key" notes didn't even exist. The only one that did exist was B♭. B♭ wasn't conceived of as a variation of B♮; rather, the "soft b" and the "hard b" were seen as two options for the note of b: a semitone above A (♭) or a tone above A (♮).
भाई बिना आवाज के संगीत कहाँ ?!! तुम्हारी विडियो में आवाज इतनी कम है कि सुनने के लिए ईयरफोन या एम्पलीफायर लगना पड़े !! कृपया इस समस्या पर ध्यान दें !! 🙏
जरूर। अगले videos में ध्यान रखेंगे.
@yogeshkumarUSA 🙏
The reason you hv given is not logical....its very difficult to accept.....
This shows that nobody knows the correct answer...
It is difficult to confirm as it is not recorded in any approved articles/books. Even renowned books like these don’t explicitly mention about this
The Cambridge History of Western Music Theory, ed. Thomas Christensen. New York: Cambridge University Press, 2006. Specific chapters referenced: "Greek Music Theory" by Thomas J. Mathieson; "Notes, Scales, and Modes in the Earlier Middle Ages" by David E. Cohen
Source Readings in Music Theory, ed. and trans. Oliver Strunk and Leo Treitler. New York: W. W. Norton & Co., 1998.
However, most of the theories support what I have mentioned. (And that's the reason I have not confirmed it but created visibility around it) But, this is the long story to it.
The church modes consist of seven basic “modes” that were originally seven types of scales used in medieval music, and the foundation for what would later become Western Tonality
The seven modes are Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian.
Ionian: C D E F G A B C
Dorian: D E F G A B C D
Phrygian: E F G A B C D E
Lydian: F G A B C D E F
Mixolydian: G A B C D E F G
Aeolian: A B C D E F G A
Locrian: B C D E F G A B
When the ancestors of the piano were in use, much later in music history, the desire for a new key, the first black key, was called for, and so early keyboards in the 14th and 15th centuries had the Bb added. That meant that starting on the note, C, one could play the Ionian mode, as well as the Mixolydian, which are both very pleasing modes to our modern ears, considering Ionian is today, our major key, in contrast to the Aeolian mode, our natural minor key.
And that’s where medieval modality fits into this equation. A was chosen as the basis of the Aeolian mode, because it was (and still is) a pleasant sounding and common mode to play in at the time. So, A was originally the start of a common scale/mode in the middle ages. It was when tonality was chosen over modality, that C became the preferred starting point, because it is the white-key Ionian mode’s pitch center. The Ionian and Aeolian modes were both crucial to the practice of tonality in music, but due to the way it turned out, they were made respectively major and minor, due to the Aeolian’s flat third, sixth, and seventh, when compared to Ionian, which is major largely because of it’s leading tone seventh, giving it a feeling of resolution.
A isn’t the natural Ionian pitch center on our keyboard instruments, essentially because we’re looking at things from the present backwards- we think of C as the central pitch in music because it happened to be the most popular mode when tonality was born. To a medieval musician, however, all of the modes were roughly equal in importance- hence, A was chosen for Aeolian, whereas today, if we were to completely recreate our notational system, we would shift everything forward a minor third on the keyboard, such that A would be the natural Ioanian mode.
It’s C instead of A because things just caught on that way, and it had already been ingrained into the formative training of most musicians of the time, so they would not have wanted to change things up when they shifted into tonal music.
That is a reason, that when note names were developed, most of those "black key" notes didn't even exist. The only one that did exist was B♭. B♭ wasn't conceived of as a variation of B♮; rather, the "soft b" and the "hard b" were seen as two options for the note of b: a semitone above A (♭) or a tone above A (♮).