Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- cento_rp:tt [2025/07/22 11:51] – xaverkainzbauer
+++ cento_rp:tt [2025/08/02 11:10] (aktuell) – xaverkainzbauer
@@ Zeile 1: / Zeile 1: @@
 ===== TT =====
+[[cento:centologia |🔘]]  nach Agustoni 1987
 {| style="width: 100%;"
 |style="width:60px; border-left: 3px solid #aaaaaa; border-top: 3px solid #aaaaaa" | sol
-|style="width:840px; border-top: 3px solid #aaaaaa; border-right: 3px solid #aaaaaa" |
+|style="width:840px; border-top: 3px solid #aaaaaa; border-right: 3px solid #aaaaaa" | obere Grenzstufe des modalen Tonraumes;
 |-
 |style="border-left: 3px solid #aaaaaa" | fa
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | komplementäre Strukturstufe im VII. Modus
 |-
 |style="border-left: 3px solid #aaaaaa" | mi
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | bisweilen modale Kontraststufe zu //re//.
 |-
 |style="border-left: 3px solid #aaaaaa" | re
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | Hauptstrukturstufe des 7. Psalmtons und der Tetrarduskomposition zur Quint (VII);
 |-
 |style="border-left: 3px solid #aaaaaa" | do
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | Hauptstrukturstufe des 8. Psalmtons und der Tetrarduskomposition zur Quart (VIII);
 |-
 |style="border-left: 3px solid #aaaaaa" | si
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | **h**     sekundäre Strukturstufe der Tetrarduskomposition (VIII) und der melismatischen Psalmodie (VIII);
+gelegentlich Tonstufe für kleinere Interpunktionen (//do ↘︎ si//)\\
+ **b**  wenn nicht durch Centonisation (vgl. Agustoni 1.3.8) bedingt, meist sehr fragwürdig;
 |-
 |style="border-left: 3px solid #aaaaaa" | la
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | häufig vorkommende Nebenstrukturstufe in Bezug zu //do// oder im Kontrast zu //Sol//.
 |-
 |style="border-left: 3px solid #aaaaaa" | SOL
-|style="border-right: 3px solid #aaaaaa" | FINALIS zugleich: Strukturtonstufe der plagalen Tetrarduskomposition (VIII) und der melismatischen Psalmodie (VIII)
+|style="border-right: 3px solid #aaaaaa" | FINALIS zugleich: \\
+Strukturtonstufe der plagalen Tetrarduskomposition (VIII) und der melismatischen Psalmodie (VIII)
 |-
 |style="border-left: 3px solid #aaaaaa" | fa
-|style="border-right: 3px solid #aaaaaa" |
+|style="border-right: 3px solid #aaaaaa" | subsemitonale. modal wichtige Tonstufe\\
+komplementäre Strukturtonstufe\\
+Binnenkadenzstufe; häufig gefolgt von einer Neuintonation zum oberen //do//;
 |-
-|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" | Durchgangsstufe, nicht selten als Ort (?) des Quilismas; sonst auch Ornamentstufe; wird das darüberliegende //fa// vermieden, kann //mi// als modales Element der Tonbewegung //Sol ↘︎ mi ↘︎ re// bzw. //re ↗︎ mi ↗︎ Sol// Hinweis auf eine Transposition des Urmodus DO (vg. GT 267 CO Venite: DO ist hier Sol) sein.
 |-
 |style="border-left: 3px solid #aaaaaa" | re
 |style="border-right: 3px solid #aaaaaa" | untere Grenzstufe de modalen Tonraumes; bisweilen Tonstufe der Binnenkadenz
 |-
-|style="border-left: 3px solid #aaaaaa" | (do)
+|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" |(do)
-|style="border-right: 3px solid #aaaaaa" | seltene Ausweitung des unteren Berichs des Tonraumes (vgl. GT 122,3)
+|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" |seltene Ausweitung des unteren Bereichs des Tonraumes (vgl. GT 122,3)
-|-
-|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | xxx
-|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" |
 |-
+|}
+–––––––––––––––––––––––––––––––––––––––––––––––––––––––
+[[cento:centologia |🔘]]  according to Agustoni 1987
+{| style="width: 100%;"
+|style="width:60px; border-left: 3px solid #aaaaaa; border-top: 3px solid #aaaaaa" | sol
+|style="width:840px; border-top: 3px solid #aaaaaa; border-right: 3px solid #aaaaaa" | obere Grenzstufe des modalen Tonraumes;
+|-
+|style="border-left: 3px solid #aaaaaa" | fa
+|style="border-right: 3px solid #aaaaaa" | complementary structural level in VII mode
+|-
+|style="border-left: 3px solid #aaaaaa" | mi
+|style="border-right: 3px solid #aaaaaa" | sometimes modal contrast level to //re//.
+|-
+|style="border-left: 3px solid #aaaaaa" | re
+|style="border-right: 3px solid #aaaaaa" | Main structural level of the 7th psalm tone and the Tetrardus composition to the fifth (VII);
+|-
+|style="border-left: 3px solid #aaaaaa" | do
+|style="border-right: 3px solid #aaaaaa" | Main structural level of the 8th psalm tone and the Tetrardus composition to the fourth (VIII);
+|-
+|style="border-left: 3px solid #aaaaaa" | si
+|style="border-right: 3px solid #aaaaaa" | **h** secondary structural stage of Tetrardus composition (VIII) and melismatic psalmody (VIII);
+occasionally tone stage for smaller punctuations (//do ↘︎ si//)\\
+ **b** if not caused by centonization (cf. Agustoni 1.3.8), usually very questionable;
+|-
+|style="border-left: 3px solid #aaaaaa" | la
+|style="border-right: 3px solid #aaaaaa" | frequently occurring secondary structure level in relation to //do// or in contrast to //Sol//.
+|-
+|style="border-left: 3px solid #aaaaaa" | SOL
+|style="border-right: 3px solid #aaaaaa" | FINALIS at the same time: \\
+Structural pitch of the plagal Tetrardus composition (VIII) and the melismatic psalmody (VIII)
+|-
+|style="border-left: 3px solid #aaaaaa" | fa
+|style="border-right: 3px solid #aaaaaa" | subsemitonal. modally important tone stage\\
+complementary structural tone stage\\
+internal cadential stage; often followed by a new intonation to the upper //do//;
+|-
+|style="border-left: 3px solid #aaaaaa" | mi
+|style="border-right: 3px solid #aaaaaa" | Passage stage, not infrequently as the place (?) of the quilisma; otherwise also ornamental stage; if the //fa// above it is avoided, //mi// as a modal element of the tone movement //Sol ↘︎ mi ↘︎ re// or //re ︎ mi ︎ Sol// can be an indication of a transposition of the original mode DO (cf. GT 267 CO Venite: DO is Sol here).
+|-
+|style="border-left: 3px solid #aaaaaa" | re
+|style="border-right: 3px solid #aaaaaa" | lower limit of the modal range; sometimes the pitch of the internal cadence
+|-
+|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" |(do)
+|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" |rare expansion of the lower range of the tonal space (cf. GT 122.3)
+|-
 |}