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Second, clef identifications supplied a reference point for the identification of the mode of a composition, and in some cases higher and lower pitch levels of imagined tunings were employed in order to distinguish authentic and plagal modes, respectively.
The intonation sign gives a pitch for transcription a fourth higher in (b) than in (a); this is usually associated in medieval manuscripts with the Fourth or Fourth Plagal Modes, though more recently, with Chrysanthine notation, it has come to belong to the Third Mode, with which it is also associated in Athens 2062.
They always seem to be assigned to the Third Mode, and if I am right in thinking that all psalmody for the Office of the Genuflexion belongs to the Second Plagal Mode, the modal clash could hardly be more discordant.
Returning to Bach, Deppert first examines the possibility of Bach's use of modal 'ambitus' in his chorale settings, with the voices remaining within their octave ranges and lying in alternating authentic and plagal order.
Bona's comment about the general opinion of his day illustrates that a higher gamut (as defined by the notation of the authentic modes) was considered more cheerful than the lower gamut (as defined by the notation of the plagal modes), which was sad.
In plainchant, the protus modes, both authentic and plagal, often had a b[flat] notated in the chant itself, providing the fa sopra la above the reciting note (a) of the first mode and the fa above the reciting note (f) of the second mode.
He is justified in calling the final cadence 'one of the most extraordinary plagal cadences in all of music' (p.
He notes that the Christe and the second Agnus Dei end with the characteristic plagal cadence of the model.
Five triads may be preceded by dominants; the sixth, by a Phrygian or plagal cadence.
This volume raises the possibility that the general issues Kallberg explores will continue to lend impetus to musicological inquiry long after the current obsession with gendered interpretations of individual works or oeuvres has receded into the blissfully distant past, leaving only vague memories of a time where plagal progressions symbolized femininity while authentic ones symbolized masculinity, and where thematically inverted recapitulations somehow provided deep artistic revelations about a composer's sexuality.
The four manerie (or modal types), each bifurcated into authentic and plagal forms, constituted the guiding principles by which the integrity of every chant was to be judged.
Appropriating a line from Horace, he castigates chants unfortunate enough to combine authentic and plagal ranges for being as unnatural as the union of a human head with a horse's tail.