화답송에서 제6선법이 결여된 이론적 근거: 제1부

Abstract

In Gregorian chants, the graduals are varied and decorated from the melodies of several standard phrases by means of each mode except for mode VI, while consisting of the centonizations. Because of lack of mode VI, the graduals feature a chant, and in other respects, they comprise centonizations in other same or different modes. The same modes in the graduals, as shown in the results of analyzing the works featuring mode I and mode II, are characterized by the same standard phrases forming the centonizations. In the graduals showing the centonizations within the different modes, the fluid centonis Cento D12d12 forming the centonizations acts in concert in mode I and mode Ⅳ, while being centonized as commixtio. In the different modes, centonises are Cento F10f10 in mode I, Cento 1f11f3 in mode V, Cento F10A12 in mode II, Cento F17f17A12 in mode V and Cento F1f1 in mode VII. They are variations of standard centos, which are same structurally, while being the same centonizations in terms of progression. In addition, in Cento F10A12 in mode II and Cento F17f17A12 in mode V, the following phrase Cento A12 forms a relationship of commixtio. The reason why mode VI lacks in the graduals is because it shares 3 same structural sounds with mode I. Thus, the fluid centonis ends up with mediant in mode IV, transcending the ambitus. The fluid centonis is same in terms of progression in V and I modes, and therefore, mediant is not structured in mode VI, transcending the ambitus. Such transcendence of the ambitus are shown in VII, II and V modes, not ending up with finalis F. The graduals have the melismatic melodies; the melodies of the responsorials are more gorgeous and melismatic than those of antiphonals (Introit, Communion, Offertory). Since their I and IV modes have the same structure, they are absorbed into the regular mode I, lacking in mode VI. In addition, in case mode VI which lacks should be transferred, it has the same structure as mode VII, being sentonized into mode VII. In contrast, the regular mode V progresses in a way similar to mode I, while being used much for the graduals. If a gradual should be set for mode VII, it would have such problems as absorption due to the same structure, transcendence of ambitus and lack of structured sound due to violation of mode. Namely, it would be commixtio only. The theoretical cause and ground for lack of mode VI in the graduals will be discussed in the second part of this dissertation "Text and Developed Mode System Centered about Motive" which will be carried on the next issue of this journal.