Authentic
authentic
(Greek: authentes, real author)
Terms applied to:
the Scriptures, because its books have been written by the persons whose names they bear, because they are genuine and trustworthy, officially acknowledged, and express faithfully all those things which belong to the substance of the Divine writings;
the document authenticating a relic;
four modes in Gregorian music.
New Catholic Dictionary
Fuente: New Catholic Dictionary
Authentic
The term is used in two senses. It is applied first to a book or document whose contents are invested with a special authority, in virtue of which the work is called authentic. In its second sense it is used as a synonym for “genuine”, and therefore means that a work really emanates from the author to whom it is ascribed. The article VULGATE explains the first sense of the word; the articles on the single books of Sacred Scripture illustrate the second.
———————————–
F.X.E. ALBERT Transcribed by Joseph P. Thomas
The Catholic Encyclopedia, Volume IICopyright © 1907 by Robert Appleton CompanyOnline Edition Copyright © 2003 by K. KnightImprimatur. +John M. Farley, Archbishop of New York
Fuente: Catholic Encyclopedia
Authentic
is a term applied to the sounds connecting the final (in Gregorian music) with its octave, or a melody in which they only are employed, in contradistinction to those connecting the fourth below the final with its octave, the fifth above it, which were called plagal (q.v.). ‘In Ambrosian music authentic scales only were employed,:and of these only four: the Phrygian (D-d), Dorian (E-e), Hypolydian (F-f), and Hypophrygian (G-g) of the Greek system. The .Eolian (A-a) and the Ionian (C-c), subsequently added to the number of the Church scales (tones or modes), were subjected to the same classification. Authentic scales are characterized by the harmonic division (6: 4: 3) of their octaves; e.g. C- gg-c; the plagal by the arithmetical division (4:3: 2); e.g. G-C–g. Authentic melodies are thought to have generally greater dignity and strength than plagal. A good modern example of the former is the well-known German chorale Eine feste Buig ist unser Gott, and of the latter the Evening Hymn, attributed to Tallis; and it would: be difficult to find in pure melodic music better examples of the sublime and the beautiful. The relations of subject and answer in the modern tonal fugue (as when C-g are “answered” not by g-d, but by g-C) obviously grew out of the division of scales into authentic and plagal