an_indiv:0188
Unterschiede
Hier werden die Unterschiede zwischen zwei Versionen angezeigt.
| Beide Seiten der vorigen RevisionVorhergehende ÜberarbeitungNächste Überarbeitung | Vorhergehende Überarbeitung | ||
| an_indiv:0188 [2024/05/30 06:02] – xaverkainzbauer | an_indiv:0188 [2025/04/30 11:53] (aktuell) – xaverkainzbauer | ||
|---|---|---|---|
| Zeile 9: | Zeile 9: | ||
| {%syn: | {%syn: | ||
| - | [[ant: | ||
| + | [[0176]] ⟽ **[[cento_an: | ||
| + | [[ant: | ||
| + | ------- | ||
| + | Die Antiphon ist nahe am 2.Modus gebaut und geprägt von **<fc # | ||
| + | **[[cento_an: | ||
| + | **[[cento_an: | ||
| + | + [[neumen: | ||
| + | [[neumen: | ||
| + | **[[cento_an: | ||
| + | **[[cento_an: | ||
| + | |||
| + | **[[cento_an: | ||
| + | **[[cento_an: | ||
| + | [[neumen: | ||
| + | [[neumen: | ||
| + | |||
| + | **[[cento_an: | ||
| + | [[formulae: | ||
| + | **[[cento_an: | ||
| + | **[[cento_an: | ||
| + | {{ : | ||
| + | |||
| + | 🔴 Zur Liqueszenz. Beide Beispiele (liqueszens diminutiva) sollen zeigen, wie die Liqueszenz einen zweiten Ton verhindert. In beiden Fällen hat der typische Cento einen zweiten Ton, der in dieser Antiphon wegzulassen ist. Einen noch so kleinen zweiten Ton zu singen würde die stauende Wirkung der Liqueszenz zerstören.\\ | ||
| + | <fc # | ||
| + | "et **) tí**-bi manet virginitas" | ||
| + | "quem **) tó**-tus orbis" | ||
| + | " | ||
| + | Ohne Liqueszenz würden die Hauptakzente anders liegen:\\ | ||
| + | "in tua **vís**-cera se clausit" | ||
| + | "et tibi manet vir-**gí**-nitas" | ||
| + | "quem totus **nón** capit orbis" | ||
| + | " | ||
| ------- | ------- | ||
| Zeile 23: | Zeile 54: | ||
| He who was born of true faith has made amends for the crimes of the world \\ | He who was born of true faith has made amends for the crimes of the world \\ | ||
| and your virginity remains intact. | and your virginity remains intact. | ||
| + | ------- | ||
| + | |||
| + | The antiphon is built close to the 2nd mode and characterised by **<fc # | ||
| + | **[[cento_an: | ||
| + | **[[cento_an: | ||
| + | + [[neumen: | ||
| + | [[neumen: | ||
| + | **[[cento_an: | ||
| + | **[[cento_an: | ||
| + | |||
| + | **[[cento_an: | ||
| + | **[[cento_an: | ||
| + | [[neumen: | ||
| + | [[neumen: | ||
| + | |||
| + | **[[cento_an: | ||
| + | [[formulae: | ||
| + | **[[cento_an: | ||
| + | **[[cento_an: | ||
| + | {{ : | ||
| + | |||
| + | 🔴 On liquescence. Both examples (liqueszens diminutiva) are intended to show how liquescence prevents a second tone. In both cases, the typical cento has a second tone, which is to be omitted in this antiphon. Singing a second note, however small, would destroy the damming effect of the liquescent. | ||
| + | <fc # | ||
| + | "et **) tí**-bi manet virginitas" | ||
| + | "quem **) tó**-tus orbis" | ||
| + | " | ||
| + | Without liquescence, | ||
| + | "in tua **vís**-cera se clausit" | ||
| + | "et tibi manet vir-**gí**-nitas" | ||
| + | "quem totus **nón** capit orbis" | ||
| + | " | ||
| + | ------- | ||
| + | {%syn: | ||
an_indiv/0188.1717041740.txt.gz · Zuletzt geändert: (Externe Bearbeitung)
