Editing Locrian mode (section)

==History==
''[[Locrians|Locria]]n'' is the word used to describe an ancient Greek tribe that inhabited the three regions of [[Locris]].<ref>{{OED|Locrian}}</ref> Although the term occurs in several classical authors on music theory, including [[Cleonides]] (as an octave species) and [[Athenaeus]] (as an obsolete ''[[harmonia]]''), there is no warrant for the modern use of Locrian as equivalent to [[Heinrich Glarean|Glarean's]] hyperaeolian mode, in either classical, Renaissance, or later phases of modal theory through the 18th&nbsp;century, or modern scholarship on ancient Greek musical theory and practice.<ref name=Powers-2001a>{{cite dictionary |first=Harold S. |last=Powers |title=Locrian |year=2001a |dictionary=The New Grove Dictionary of Music and Musicians |edition=2nd |editor1-first=Stanley |editor1-last=Sadie |editor1-link=Stanley Sadie |editor2-first=John |editor2-last=Tyrrell |editor2-link=John Tyrrell (professor of music) |place=London, UK |publisher=Macmillan Publishers |page=158 }}</ref><ref>{{cite book |first=David |last=Hiley |author-link=David Hiley |year=2002 |section=Mode |title=The Oxford Companion to Music |editor-first=Alison |editor-last=Latham |place=Oxford, UK / New York, NY |publisher=Oxford University Press |isbn=978-0-19-866212-9 |oclc=59376677 }}</ref>

The name first came into use in modal chant theory after the 18th&nbsp;century,<ref name=Powers-2001a/> when ''Locrian'' was used to describe the newly-numbered mode&nbsp;11, with its final on B, [[ambitus (music)|ambitus]] from that note to the octave above, and semitones therefore between the first and second, and between the fourth and fifth degrees. Its [[reciting tone]] (or tenor) is G, its [[mediant]]&nbsp;D, and it has two [[Musical mode#Western Church|participant]]s: E and F.<ref>{{cite dictionary |first=William Smyth |last=Rockstro |year=1880 |title=Locrian mode |dictionary=A Dictionary of Music and Musicians (A.D. 1450–1880), by eminent writers, English and foreign |volume=2 |editor-first=George, D.C.L. |editor-last=Grove |editor-link=George Grove |place=London, UK |publisher=Macmillan and Co. |page=158 }}</ref> The [[final (music)|final]], as its name implies, is the tone on which the chant eventually settles, and corresponds to the tonic in tonal music. The reciting tone is the tone around which the melody principally centers,<ref>{{cite book |first=Charlotte |last=Smith |year=1989 |title=A Manual of Sixteenth-Century Contrapuntal Style |place=Newark, NJ / London, UK |publisher=University of Delaware Press / Associated University Presses |isbn=978-0-87413-327-1 |page=[https://books.google.com/books?id=usc74SGmrf8C&q=a+manual+of+sixteenth&pg=PA14 14] |url=https://books.google.com/books?id=usc74SGmrf8C }}</ref> the term ''[[mediant]]'' is named from its position between the final tone and the reciting tone, and the participant is an auxiliary note, generally adjacent to the mediant in [[authentic modes]] and, in the [[Plagal mode|plagal]] forms, coincident with the reciting tone of the corresponding authentic mode.<ref name=Powers-2001b>{{cite dictionary |first=Harold S. |last=Powers |title=Modes, the ecclesiastical |year=2001b |dictionary=[[The New Grove Dictionary of Music and Musicians]] |edition=2nd |editor1-first=Stanley |editor1-last=Sadie |editor1-link=Stanley Sadie |editor2-first=John |editor2-last=Tyrrell |editor2-link=John Tyrrell (professor of music) |place=London, UK |publisher=Macmillan Publishers |pages=340–343, {{nobr|esp. p. 342}} }}</ref>