PLAGAL


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PLAGALPro-Life Alliance of Gays and Lesbians
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References in periodicals archive ?
Other orders and dioceses continued to sing chants in what the Cistercians considered to be lamentably dissolute versions, and to the east Hildegard von Bingen continued her melodic strains that both soared exuberantly into high registers and descended into plagal "abysses." Yet in the early fourteenth century Marchettus of Padua was still acknowledging and trying to grapple intelligently with many of the problems addressed by Guido d'Eu.
The plagal cadence on the falling "silver rain" (bar 17) adds yet more emphasis.
PLAGAL has over 800 members throughout the United States and in five foreign countries.
Smith adds a two-bar plagal cadence at the end for all parts
Ex.1, from the `Et misericordia' verse of the Magnificat quart) toni, illustrates the more concise ending in the manuscript version: the reduction of two and a half bars allows the omission of the multiple repetitions of the plagal progression and eliminates the long melismas.(14) Only one verse, `Gloria Patri' of the Magnificat octavi toni, reveals a significant difference in length: the manuscript version is 11 bars shorter than the printed version.
She is a member of Secular Pro-Life and PLAGAL. This appeared at liveactionnews.
54); not of cadences parfaites or irregulieres (the last, in particular, matters, since it applies equally to half and to plagal cadences).
4 and 5 is Satie's use of perfect fourths and fifths, both melodically and as the bass part of plagal and perfect cadence types (to which sevenths and ninths are invariably added).
In addition, the imagined tunings are employed in a consistent pattern: in each modal pair the imagined tuning of an authentic mode is higher than that of the corresponding plagal mode.
* PAC (cadence labels): Perfect Authentic Cadence (PAC), Imperfect Authentic Cadence (IAG), Half Cadence (HC), Plagal Cadence (Plagal) and Phrygian Cadence (Phyrgian).
Here, recitation is on the mediant of the mode, accented syllables are usually a tone higher, and there are occasional dips to the Second Plagal Mode final.
Arnold, Giovanni Gabrieli and the music of the Venetian High Renaissance (London, 1979), p.264, states that it is 'richly scored in the way of several Marian motets published [earlier] in 1597, has the same kind of cross-rhythms, a similar repeated final section, and Gabrieli's favourite concluding drawn-out plagal cadence'.