Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- an_indiv:0120 [2024/06/15 15:52] – xaverkainzbauer
+++ an_indiv:0120 [2024/11/08 20:02] (aktuell) – xaverkainzbauer
@@ Zeile 1: / Zeile 1: @@
-[[cento:centologia#centones_antiphonarum|🔘]]  [[grad:0002|IN]] [[grad:0176|GR]] [[grad:0456|TR]] [[grad:0324|AL]] [[grad:0482|OF]] [[grad:0615|CO]]
+[[cento:centologia#centones_antiphonarum|🔘]]  [[grad:0001|IN]] [[grad:0202|GR]] [[grad:0465|TR]] [[grad:0294|AL]] [[grad:0481|OF]] [[grad:0599|CO]]
 <fc #ffffff>xxxxx</fc>
-[[0001|1️⃣]] [[0019|2️⃣]] ✅ [[0034|3️⃣]] [[0041|4️⃣]] [[0006|5️⃣]] [[0158|6️⃣]] [[0007|7️⃣]] [[0004|8️⃣]]
+[[0001|1️⃣]] [[0019|2️⃣]] ✅ [[0034|3️⃣]] [[0113|4️⃣]] [[0006|5️⃣]] [[0158|6️⃣]] [[0007|7️⃣]] [[0004|8️⃣]]
 <fc #ffffff>xxxxx</fc>
-**<fc #BD0C11>AN</fc>** [[ant:7001|RP]] [[ant:9815|IV]]  [[alia:alia|alia]]
+**<fc #BD0C11>AN</fc>** [[ant:7016|RP]] [[ant:9921|IV]]  [[alia:alia|alia]]
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@@ Zeile 9: / Zeile 9: @@
 {%syn:title:ant:0120%}
-[[ant:0120|↖️]]
+[[0118]] ⟽ **[[cento_an:qtyp|AN Q]]** ⟾ [[0138]]
+[[ant:0120|⏹️]]  [[rp_hmr:0120|🔄]]
+------
 {{ :ant:0120_comm1.png?200|}}
@@ Zeile 41: / Zeile 44: @@
 **[[cento_an:qnov|QNOV]]** The inferius at the beginning of the cento prevents the emphasis "//vé//ni et eripe me" and forces the much more correct emphasis "veni et e//rí//pe **me**". "The clivis "me" is extended to a four-note torculus.\\
 **[[cento_an:qter|QTER]]**
+The <fc #ff0000>**"si / sa "**</fc> problem in classical form: accidentals are not written until the 12th century, all late manuscripts write "sa" in the ascent, T1+2, Bv21, MR and B do not know such accidentals. Now the 5th mode and tonus is defined as "F major without b flat", as the scale fa-sol-la-si-do. Obviously it was no longer possible for the aesthetics of the 12th century to sing this scale; a "modern" F major breaks through. In the descent, however, the soft semitone "sa-la", the turn to deuterus, is avoided. Chromaticism "la-**sa**-do-**si**-la" is also inconceivable, so the clearer, harder descent "do-la" is chosen. Only Ka brings "sa" by changing the clefs, "fa" is notated.
+{{ :ant:0120_comm2.png?200|}}
+Our fundamental transcription of the terminatio cento as protus, although all manuscripts that write accidentals notate "sa", is justified by this consideration. Musical aesthetics have always changed; between 800 and 1300 AD Gregorian chant did not always remain the same sound event. Even if hardly an iota or line was changed, iota and line were interpreted according to the taste of the time.
+Translated with www.DeepL.com/Translator (free version)
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