It is the name assigned by
Heinrich Glarean in 1547 to his new
authentic mode on C (mode 11 in his numbering scheme), which uses the
diatonicoctave species from C to the C an octave higher, divided at G (as its dominant,
reciting tone/reciting note or tenor) into a fourth species of
perfect fifth (tone–tone–semitone–tone) plus a third species of
perfect fourth (tone–tone–semitone): C D E F G + G A B C.[1] This octave species is essentially the same as the
major mode of
tonal music.[2]
Church music had been explained by theorists as being organised in eight
musical modes: the scales on D, E, F, and G in the "greater perfect system" of "musica recta,"[3] each with their
authentic and
plagal counterparts.
Glarean's twelfth mode was the plagal version of the Ionian mode, called
Hypoionian (under Ionian), based on the same relative scale, but with the
major third as its tenor, and having a melodic range from a
perfect fourth below the tonic, to a
perfect fifth above it.[4]
Jones, George Thaddeus. 1974. "Medieval Church Modes", in his Music Theory: The Fundamental Concepts of Tonal Music, Including Notation, Terminology, and Harmony, 42–43. Barnes & Noble Outline Series 137. New York, Hagerstown, San Francisco, London: Barnes & Noble Books; Toronto: Fitzhenry & Whiteside.
ISBN0-06-460137-4,
0-06-467168-2OCLC834716
Powers, Harold S. 2001b. "Mode". The New Grove Dictionary of Music and Musicians, 2nd edition, 29 vols., edited by Stanley Sadie and John Tyrrell, 16:[page needed]. London: Macmillan; New York: Grove's Dictionaries of Music.
ISBN978-1-56159-239-5.
Powers, Harold S. 2001c. "Hypoionian". The New Grove Dictionary of Music and Musicians, 2nd edition, 29 vols., edited by Stanley Sadie and John Tyrrell, 12:37–38. London: Macmillan; New York: Grove's Dictionaries of Music.
ISBN978-1-56159-239-5.