Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- cento_rp:dt [2025/01/30 13:27] – xaverkainzbauer
+++ cento_rp:dt [2025/08/26 11:25] (aktuell) – xaverkainzbauer
@@ Zeile 1: / Zeile 1: @@
 ===== DT =====
-Agustoni
+[[cento:centologia |🔘]]  nach Agustoni 1987
@@ Zeile 15: / Zeile 15: @@
 |style="border-right: 3px solid #aaaaaa" | Hauptstrukturstufe des 3. Psalmtons und der Deuteruskomposition zur Quint (III);\\
 **"si"** in Bezug zu "do" oder unterem "Mi";\\
-**"do"** in Bezug zu unterem "fa";\\
+**"sa"** in Bezug zu unterem "fa";\\
 (in Bezug zu "sol" oder "Mi" ist das "b" fragwürdig, sosehr es auch in späterer Tradition bestätigt ist)
 |-
@@ Zeile 22: / Zeile 22: @@
 |-
 |style="border-left: 3px solid #aaaaaa" | sol
-|style="border-right: 3px solid #aaaaaa" | Strukturstufe der Komposition und der melismatischen Psalmodie\\(IV) oder:\\
+|style="border-right: 3px solid #aaaaaa" | Strukturstufe der Komposition und der melismatischen Psalmodie\\ (IV) oder:\\
 Hauptstrukturstufe der Komposition und der Psalmodie im Deuterus zur Terz (IV*)
 |-
 |style="border-left: 3px solid #aaaaaa" | fa
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | subsemitonale, modal wichtige Tonstufe mit starker Anziehungskraft auf die Tonstufe der Finalis //Mi//.
 |-
-|style="border-left: 3px solid #aaaaaa" | Mi
+|style="border-left: 3px solid #aaaaaa" | MI
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | FINALIS \\
+zugleich:\\
+Strukturstufe besonders der Komposition im IV. Modus und der melismatischen Psalmodie (IV)
 |-
 |style="border-left: 3px solid #aaaaaa" | re
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | bisweilen Tonstufe für Binnenkadenzen
 |-
 |style="border-left: 3px solid #aaaaaa" | do
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | untere Grenzstufe des modalen Tonraumes.
 |-
 |style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | B
-|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | <fc #008000>Reicht die Melodie unter das //do//, so folgt immer B (si-be-molle), nie h (si-be-durum).</fc>
 |-
 |}
 ===== Conversio ad DT =====
@@ Zeile 48: / Zeile 49: @@
 Es ist typisch für den Deuterus einen Cento (Finalcento) des Protus (Tetrardus?) nicht auf "re" zu beenden, sondern zum "mi" zu wenden.
+–––––––––––––––––––––––––––––––––––––––––––––––––––––––
+[[cento:centologia |🔘]]  according to Agustoni 1987
+{| style="width: 100%;"
+|style="width:60px; border-left: 3px solid #aaaaaa; border-top: 3px solid #aaaaaa" | mi/re
+|style="width:840px; border-top: 3px solid #aaaaaa; border-right: 3px solid #aaaaaa" | upper limit of the modal range; usually pitches for ornamental notes in relation to “do” or even lower pitches
+|-
+|style="border-left: 3px solid #aaaaaa" | do
+|style="border-right: 3px solid #aaaaaa" | subsemitonal, modally important pitch with a strong attraction to the main structural level “si” (of the third mode)
+|-
+|style="border-left: 3px solid #aaaaaa" | si
+|style="border-right: 3px solid #aaaaaa" | Main structural level of the 3rd psalm tone and the deuterus composition to the fifth (III);\\
+**"si "** in relation to "do" or lower "Mi";\\
+**"do "** in relation to lower "fa";\\
+(in relation to "sol" or "Mi" the "b" is questionable, however much it is confirmed in later tradition)
+|-
+|style="border-left: 3px solid #aaaaaa" | la
+|style="border-right: 3px solid #aaaaaa" | Main structural level of the 4th psalm tone and the deuterus composition to the fourth (IV)
+|-
+|style="border-left: 3px solid #aaaaaa" | sol
+|style="border-right: 3px solid #aaaaaa" | Structural level of the composition and the melismatic psalmody\\ (IV) or:\\
+Main structural level of the composition and the psalmody in the deuterus to the third (IV*)
+|-
+|style="border-left: 3px solid #aaaaaa" | fa
+|style="border-right: 3px solid #aaaaaa" | subsemitonal, modally important pitch with a strong attraction to the pitch of the final //Mi//.
+|-
+|style="border-left: 3px solid #aaaaaa" | MI
+|style="border-right: 3px solid #aaaaaa" | FINALIS \\
+at the same time:\\
+Structural stage, especially of the composition in the IVth mode and the melismatic psalmody (IV)
+|-
+|style="border-left: 3px solid #aaaaaa" | re
+|style="border-right: 3px solid #aaaaaa" | sometimes tone step for internal cadences
+|-
+|style="border-left: 3px solid #aaaaaa" | do
+|style="border-right: 3px solid #aaaaaa" | lower limit of the modal range.
+|-
+|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | B
+|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | <fc #008000>If the melody reaches below the //do//, it is always followed by B (si-be-molle), never h (si-be-durum).</fc>
+|-
+|}
+===== Conversio ad DT =====
+It is typical for Deuterus not to end a cento (final cento) of Protus (Tetrardus?) on “re”, but to turn it to “mi”.