教会调式(church modes)
在音乐中，指全音或半音的八种音阶排列的任一种，很可能源於基督教早期声乐传统，由世纪理论家归纳而成。东方教会无疑受到古代希伯来调式音乐的影响，其基本圣咏公式早在8世纪即已整编成一套体系；西方教会也保留了一些希腊音乐的概念，用於它自己的目的。在教会调式中，正调式以终止音开始和结束，副调式则介於终止音下方四度与上方五度之间。每一调式不仅以其终止音而且亦以一独特的属音（正调式的上方五度音、副调式的三度音）为特徵。多里亚调式的终止音是D、弗里季亚调式的终止音是E、里底亚调式的终止音是F、混合里底亚调式的终止音是G。这四个原始调式都各有一个平行的调式（亚多里亚、亚弗里季亚、亚里底亚、亚混合里底亚）。虽然它们主要采用A-B-C-D-E-F-G的音调，但有一些会以降半音B来取代B音。16世纪末，格拉雷阿努斯（H. Glareanus）从当时的音乐现实出发，提出了阿奥利亚（相当於自然小调音阶）及爱奥尼亚（与大调音阶相同）两对新调式，共为十二个调式。
English version：
church modes
Modes employed for medieval liturgical melodies. The modal system was conceived for the purpose of codifying plainchant (see Gregorian chant); their names were borrowed from the system used by the ancient Greeks, though the Greek system was inadequately understood and the connection between the two is illusory. The modes are distinguished according to the note used as the final (last note) and the emphasis placed on another note, called the dominant. The Dorian mode's final is D, the Phrygian mode's is E, the Lydian mode's is F, and the Mixolydian's is G. Each of these four original modes had a parallel mode (Hypodorian, Hypophrygian, Hypolydian, and Hypomixolydian) with a lower range. Though they principally employ the tones A-B-C-D-E-F-G, some replace B with B-flat. In the 16th century, further modes were identified—the Aeolian, on A, and the Ionian, on C (corresponding to modern minor and major). The mode on B was ignored because of B's problematic tonal relationship within the scale.
