plagaladj.n.

Brit.

/ˈpleɪɡl/, U.S.

/ˈpleɪɡ(ə)l/

Forms: 1500s–1600s plagall, 1500s– plagal.

Origin: A borrowing from Latin. Etymon: Latin plagalis.

Etymology: < post-classical Latin plagalis (11th cent.; 1351 in a British source in modus plagalis ) < plaga plagal mode (9th cent.; a1100 in a British source; apparently a back-formation < plagius plagal (9th cent.) < Byzantine Greek πλάγιος plagal (in πλάγιος ἦχος a plagal mode), in ancient Greek ‘oblique’: see plagio- comb. form) + classical Latin -ālis -al suffix¹. Compare Italian plagale (a1549), Middle French, French plagal (1598; 1835 in cadence plagale (compare sense A. 2)).

Music.

A. adj.

1. Designating any of the church modes which lies a perfect fourth below the authentic form of the same mode. Frequently opposed to authentic adj. 6; see also hypo-aeolian, hypodorian at hypo- prefix 1c(a) etc.

ΘΚΠ

society > leisure > the arts > music > musical sound > pitch > system of sounds or intervals > [adjective] > mode > medieval mode > plagal

plagal1597

subjugal1609

1597 T. Morley Plaine & Easie Introd. Musicke Annot. sig. (∴)2 But by the contrary in plagall tunes, they take a note aboue the highest key of the fift (which is the highest of the plagal) as in the sixt and eight [etc.].

1609 J. Dowland tr. A. Ornithoparchus Micrologus 13 Euery Song in the beginning, rising straight beyond the final Note to a Fift, is Authenticall: but that which fals straight way to a Third, or a Fourth, vnder the finall Key, is Plagall.

1667 C. Simpson Compend. Pract. Musick 113 These Moods or Tones had yet another distinction; and that was, Authentick, or Plagal.

1730 Short Treat. Harmony x. 80 One of the Parts is in the Authentick, and the Other in the Plagal Mode of the Key we compose in.

1761 Philos. Trans. 1760 (Royal Soc.) 51 770 Among the French writers, Brassard, in his Dictionaire de Musique, throws no light upon this subject, his account of the modes respecting chiefly those of much later times, which were distinguished into plagal and authentic, and with which the present question has very little concern.

1796 C. Burney Mem. Life Metastasio III. 197 If you find yourself involved in the difficulties of the Plagal tones, I am not among the Authentic.

1806 J. W. Callcott Musical Gram. 160 The Dominant..derives its name from the ancient Church Tones, in which it was the Fifth in the Authentic, and the Octave in the Plagal Scales, but always a Fifth above the final or modern Tonic.

1880 W. S. Rockstro in G. Grove Dict. Music II. 760/2 S. Gregory added to these Modes four others, directly derived from them, and hence called Plagal Modes.

1922 Jrnl. Hellenic Stud. 42 151 In the authentic mode, therefore, the predominant was a fourth above the final; in the plagal mode it was a fifth above.

1991 E. Taylor AB Guide to Mus. Theory II. xxiii. 239 Plagal modes were distinguished by the prefix ‘Hypo-’... Plainsong books in churches..identify modes not by names but by numbers... The plagal modes have even numbers: The Dorian mode is ‘Mode 1’, the Hypodonian mode is ‘Mode 2’, and so on.

2. Designating or having a cadence in which the chord of the subdominant (major or minor) immediately precedes that of the tonic; usually in plagal cadence. Cf. authentic cadence n. at authentic adj. and n. Compounds 2.

ΘΚΠ

society > leisure > the arts > music > piece of music > section of piece of music > [noun] > ending > cadence > types of

passing close1597

perfect cadence1636

inganno1753

interrupted cadence1801

plagal cadence1836

false cadence1888

female close1928

female cadence1930

1836 Penny Cycl. VI. 99/2 There is another kind of Cadence, to which the name Plagal is given.

1875 F. A. G. Ouseley Treat. Harmony (ed. 2) xiii. 154 If the piece is serious and solemn..it is usual, especially in sacred pieces, to add to it a plagal cadence.

1943 Slavonic & East European Rev. Amer. Ser. 2 278 The frequent repetition of tonic and dominant, together with the plagal cadence and peculiar drum rhythms, suggested a strong Amerindian music.

1976 Gramophone June 50/1 Even the plagal Amen after the powerful fortissimo seems natural and innocently appropriate.

1989 E. Taylor AB Guide to Mus. Theory I. ix. 72 In the 16th century the plagal cadence was used to end pieces much more frequently than it has been since.

B. n.

A plagal mode. Contrasted with authentic n. 4.

ΘΚΠ

society > leisure > the arts > music > musical sound > pitch > system of sounds or intervals > [noun] > medieval mode > plagal mode

plagal1597

1597 T. Morley Plaine & Easie Introd. Musicke Annot. sig. (∴) Two plagals or two autenticals ioyned togither, is a thing against nature.

1609 J. Dowland tr. A. Ornithoparchus Micrologus 13 There be certain Songs, which do ascend as an Authentical, and descend as a Plagall, and those are called Neutrall, or mixt Songs.

1664 J. Birchensha tr. J. H. Alsted Templum Musicum ix. 82 Alwayes the two proximate Moods (the Authent with his Plagal) have the same fifth, and the same fourth.

1776 J. Hawkins Gen. Hist. Music I. iii. viii. 351 The difference between the Authentic and Plagal Modes, arises from the different division of the diapason in each; the Authentics being divided in harmonical, and the Plagals in arithmetical proportion.

1879 Catholic World June 373/2 It is not so easily proved..that the introduction of the plagals was reserved for St. Gregory.

1913 C. G. Hamilton Outl. Music Hist. ii. 32 In the Authentics the finals were the lowest notes; in the Plagals they were the fourth of each scale.

1956 Dumbarton Oaks Papers 9 183 This serves to establish the pitch, to establish the mode, in this case the Second Plagal, and to establish the melody of the refrain.

2002 D. E. Cohen in T. S. Christensen Cambr. Hist. Western Mus. Theory iii. xi. 337 This makes it consistent with the other plagals: like them, it now lies a fourth below its authentic partner.

This entry has been updated (OED Third Edition, June 2006; most recently modified version published online March 2022).

单词	plagal
释义	plagaladj.n. Brit. /ˈpleɪɡl/, U.S. /ˈpleɪɡ(ə)l/ Forms: 1500s–1600s plagall, 1500s– plagal. Origin: A borrowing from Latin. Etymon: Latin plagalis. Etymology: < post-classical Latin plagalis (11th cent.; 1351 in a British source in modus plagalis ) < plaga plagal mode (9th cent.; a1100 in a British source; apparently a back-formation < plagius plagal (9th cent.) < Byzantine Greek πλάγιος plagal (in πλάγιος ἦχος a plagal mode), in ancient Greek ‘oblique’: see plagio- comb. form) + classical Latin -ālis -al suffix¹. Compare Italian plagale (a1549), Middle French, French plagal (1598; 1835 in cadence plagale (compare sense A. 2)). Music. A. adj. 1. Designating any of the church modes which lies a perfect fourth below the authentic form of the same mode. Frequently opposed to authentic adj. 6; see also hypo-aeolian, hypodorian at hypo- prefix 1c(a) etc. ΘΚΠ society > leisure > the arts > music > musical sound > pitch > system of sounds or intervals > [adjective] > mode > medieval mode > plagal plagal1597 subjugal1609 1597 T. Morley Plaine & Easie Introd. Musicke Annot. sig. (∴)2 But by the contrary in plagall tunes, they take a note aboue the highest key of the fift (which is the highest of the plagal) as in the sixt and eight [etc.]. 1609 J. Dowland tr. A. Ornithoparchus Micrologus 13 Euery Song in the beginning, rising straight beyond the final Note to a Fift, is Authenticall: but that which fals straight way to a Third, or a Fourth, vnder the finall Key, is Plagall. 1667 C. Simpson Compend. Pract. Musick 113 These Moods or Tones had yet another distinction; and that was, Authentick, or Plagal. 1730 Short Treat. Harmony x. 80 One of the Parts is in the Authentick, and the Other in the Plagal Mode of the Key we compose in. 1761 Philos. Trans. 1760 (Royal Soc.) 51 770 Among the French writers, Brassard, in his Dictionaire de Musique, throws no light upon this subject, his account of the modes respecting chiefly those of much later times, which were distinguished into plagal and authentic, and with which the present question has very little concern. 1796 C. Burney Mem. Life Metastasio III. 197 If you find yourself involved in the difficulties of the Plagal tones, I am not among the Authentic. 1806 J. W. Callcott Musical Gram. 160 The Dominant..derives its name from the ancient Church Tones, in which it was the Fifth in the Authentic, and the Octave in the Plagal Scales, but always a Fifth above the final or modern Tonic. 1880 W. S. Rockstro in G. Grove Dict. Music II. 760/2 S. Gregory added to these Modes four others, directly derived from them, and hence called Plagal Modes. 1922 Jrnl. Hellenic Stud. 42 151 In the authentic mode, therefore, the predominant was a fourth above the final; in the plagal mode it was a fifth above. 1991 E. Taylor AB Guide to Mus. Theory II. xxiii. 239 Plagal modes were distinguished by the prefix ‘Hypo-’... Plainsong books in churches..identify modes not by names but by numbers... The plagal modes have even numbers: The Dorian mode is ‘Mode 1’, the Hypodonian mode is ‘Mode 2’, and so on. 2. Designating or having a cadence in which the chord of the subdominant (major or minor) immediately precedes that of the tonic; usually in plagal cadence. Cf. authentic cadence n. at authentic adj. and n. Compounds 2. ΘΚΠ society > leisure > the arts > music > piece of music > section of piece of music > [noun] > ending > cadence > types of passing close1597 perfect cadence1636 inganno1753 interrupted cadence1801 plagal cadence1836 false cadence1888 female close1928 female cadence1930 1836 Penny Cycl. VI. 99/2 There is another kind of Cadence, to which the name Plagal is given. 1875 F. A. G. Ouseley Treat. Harmony (ed. 2) xiii. 154 If the piece is serious and solemn..it is usual, especially in sacred pieces, to add to it a plagal cadence. 1943 Slavonic & East European Rev. Amer. Ser. 2 278 The frequent repetition of tonic and dominant, together with the plagal cadence and peculiar drum rhythms, suggested a strong Amerindian music. 1976 Gramophone June 50/1 Even the plagal Amen after the powerful fortissimo seems natural and innocently appropriate. 1989 E. Taylor AB Guide to Mus. Theory I. ix. 72 In the 16th century the plagal cadence was used to end pieces much more frequently than it has been since. B. n. A plagal mode. Contrasted with authentic n. 4. ΘΚΠ society > leisure > the arts > music > musical sound > pitch > system of sounds or intervals > [noun] > medieval mode > plagal mode plagal1597 1597 T. Morley Plaine & Easie Introd. Musicke Annot. sig. (∴) Two plagals or two autenticals ioyned togither, is a thing against nature. 1609 J. Dowland tr. A. Ornithoparchus Micrologus 13 There be certain Songs, which do ascend as an Authentical, and descend as a Plagall, and those are called Neutrall, or mixt Songs. 1664 J. Birchensha tr. J. H. Alsted Templum Musicum ix. 82 Alwayes the two proximate Moods (the Authent with his Plagal) have the same fifth, and the same fourth. 1776 J. Hawkins Gen. Hist. Music I. iii. viii. 351 The difference between the Authentic and Plagal Modes, arises from the different division of the diapason in each; the Authentics being divided in harmonical, and the Plagals in arithmetical proportion. 1879 Catholic World June 373/2 It is not so easily proved..that the introduction of the plagals was reserved for St. Gregory. 1913 C. G. Hamilton Outl. Music Hist. ii. 32 In the Authentics the finals were the lowest notes; in the Plagals they were the fourth of each scale. 1956 Dumbarton Oaks Papers 9 183 This serves to establish the pitch, to establish the mode, in this case the Second Plagal, and to establish the melody of the refrain. 2002 D. E. Cohen in T. S. Christensen Cambr. Hist. Western Mus. Theory iii. xi. 337 This makes it consistent with the other plagals: like them, it now lies a fourth below its authentic partner. This entry has been updated (OED Third Edition, June 2006; most recently modified version published online March 2022). < adj.n.1597
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