Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- cento_rp:pr [2025/07/22 21:02] – xaverkainzbauer
+++ cento_rp:pr [2025/07/22 22:22] (aktuell) – xaverkainzbauer
@@ Zeile 1: / Zeile 1: @@
 ===== PR =====
-Agustoni 1987  [[cento:centologia |🔘]]
+[[cento:centologia |🔘]]  nach Agustoni 1987
 {| style="width: 100%;"
@@ Zeile 30: / Zeile 30: @@
 |style="border-right: 3px solid #aaaaaa" | schwache Tonstufe, häufiger Ort einer Quilismanote = flüchtiger Durchgang von "re" zu "fa"; oder\\ Tonstufe kleinerer Interpunktationskadenzen;
 |-
-|style="border-left: 3px solid #aaaaaa" | re
+|style="border-left: 3px solid #aaaaaa" | RE
-|style="border-right: 3px solid #aaaaaa" | Finalis, zugleich\\ Strukturstufe, besonders in der Komposition und der melismatischen Psalmodie des 2. Modus;
+|style="border-right: 3px solid #aaaaaa" | FINALIS, zugleich\\ Strukturstufe, besonders in der Komposition und der melismatischen Psalmodie des 2. Modus;
 |-
 |style="border-left: 3px solid #aaaaaa" | do
@@ Zeile 38: / Zeile 38: @@
 |style="border-left: 3px solid #aaaaaa" | si
 |style="border-right: 3px solid #aaaaaa" | seltene Durchgangsstufe von "la" zu "do"; gelegentlich auch Ort einer Wechselnote (z.B. do⤵︎si⤴︎do⤴︎re); meist leere Tonstufe;
+|-
+|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | la
+|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | untere Grenzstufe des modalen Tonraumes; häufig in modalem Spannungsverhältnis zu "Re" (sowohl Re⤵︎do0135la als auch la⤴︎do⤴︎Re) in erster Linie im II.Modus.
+|-
+|}
+[[cento:centologia |🔘]]  according to Agustoni 1987
+{| style="width: 100%;"
+|style="width:60px; border-left: 3px solid #aaaaaa; border-top: 3px solid #aaaaaa" | re
+|style="width:840px; border-top: 3px solid #aaaaaa; border-right: 3px solid #aaaaaa" | upper limit of the modal range; as an emphasis of a textual-musical intensive point \\ or in ornamental function in relation to “do”; \\ in the case of a transposition of the protus into the upper fifth (with root “la”) also possible as a recitative or structural level.
+|-
+|style="border-left: 3px solid #aaaaaa" | do
+|style="border-right: 3px solid #aaaaaa" | complementary structural tone stage; subsemitonal, modally important stage.
+|-
+|style="border-left: 3px solid #aaaaaa" | si
+|style="border-right: 3px solid #aaaaaa" | weak tone level, preferred place of a quilismanote = fleeting passage from "la" to "do". \\ "**si**" in relation to "do" often multiplied in relation to "la"\\
+Special case: intonation formula Re⤴︎la⤴︎si⤵︎la \\
+"**sa**" as an upper alternating note in relation to "la": often also in relation to lower pitches (sol,fa);\\ originally used as a semitone above the "mi" (transposed "la") of the original mode MI.
 |-
 |style="border-left: 3px solid #aaaaaa" | la
-|style="border-right: 3px solid #aaaaaa" | untere Grenzstufe des modalen Tonraumes; häufig in modalem Spannungsverhältnis zu "Re" (sowohl Re⤵︎do0135la als auch la⤴︎do⤴︎Re) in erster Linie im II.Modus.
+|style="border-right: 3px solid #aaaaaa" | Main structural level of the 1st psalm tone and the protus composition to the fifth;
+|-
+|style="border-left: 3px solid #aaaaaa" | sol
+|style="border-right: 3px solid #aaaaaa" | secondary structural level of the composition and the melismatic psalmody (I-II), or:\\
+main structural level of the composition and the psalmody in the protus to the fourth (II*); otherwise\\
+transitional level ascending to "la", descending to "fa";
+|-
+|style="border-left: 3px solid #aaaaaa" | fa
+|style="border-right: 3px solid #aaaaaa" | Main structural level of the 2nd psalm tone and the protus composition to the third (II); sub-semitonal, modally important level;
+|-
+|style="border-left: 3px solid #aaaaaa" | mi
+|style="border-right: 3px solid #aaaaaa" | weak tone step, frequent location of a quilismanote = fleeting passage from “re” to “fa”; or\\ tone step of smaller punctuation cadences;
+|-
+|style="border-left: 3px solid #aaaaaa" | RE
+|style="border-right: 3px solid #aaaaaa" | FINALIS, at the same time\\ structural level, especially in the composition and the melismatic psalmody of the 2nd mode;
+|-
+|style="border-left: 3px solid #aaaaaa" | do
+|style="border-right: 3px solid #aaaaaa" | occasionally the pitch of the inner cadences on the ‘subtonic’;
+|-
+|style="border-left: 3px solid #aaaaaa" | si
+|style="border-right: 3px solid #aaaaaa" | Rare through-note from “la” to “do”; occasionally also the place of an alternate note (e.g. do⤵︎si⤴︎do⤴︎re); usually an empty note;
 |-
-|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" |
+|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | la
-|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | Lower limit of the modal range; often in modal tension with “Re” (both Re⤵︎do0135la and la⤴︎do⤴︎Re), primarily in the second mode.
 |-
 |}