Unterschiede

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--- gr_indiv:0054 [2025/04/01 20:26] – xaverkainzbauer
+++ gr_indiv:0054 [2025/04/01 20:27] (aktuell) – xaverkainzbauer
@@ Zeile 53: / Zeile 53: @@
 Hallelujah, Hallelujah.
 -------
+{{ :gr_indiv:0054_formeln.png?120|}}
+Centologically, the IN consists of three lines, preceded by an incipit of the 3rd mode: “Exaudi domine” and followed by a twofold “Alleluia” 1TER de5. The three lines:\\
+“vocem meam / qua clamavi ad te / alleluia”\\
+“tibi dixit cor meum / quaesivi vultum tuum\\
+”vultum tuum domine requiram / ne avertas faciem tuam a me,"\\
+are grouped around a central formula consisting of Clv ‘fa-re’ and accent pes ‘fa-la’, which is followed by the descent ‘sol-fa’. The parts are introduced with 1NOV type einakzentig (gag): Recitation “sol”, accent “la”, from which the melody gradually moves to “fa”. The line ends with 2INC cad, the descent from “fa” to “re”.
+CENTRAL FORMULA\\
+{{:gr_indiv:0054_zentralformel.png?160 |}}
+A The kTerz-Clv is shortened to a semitone (Bv, Kl, Zt and E 'sursum' compared to otherwise 'mediocriter'. Text interpretation, suspenseful cry of distress. “ad” the epiphonus prevents an (accented) pes.\\
+B nkPesSbp, the meditation neume is on the final syllable of the word ‘quaesivi’. “vultum” is enriched with FML PeCl. There is no reason to use “sa” here. Zt, Mod and Mp write “mi” with their keying, but Kl writes “do”. The mystical face of the Lord, “vultum domini” is better described with a tritone than with a bland “sa”.\\
+C “fáciem” leads to “mi”, the accent is filled with nkPes.\\
+.\\
+NOV typ\\
+{{:gr_indiv:0054_1nov_typ_gag.png?200 |}}
+C The Cento 1NOV type is used unchanged in the third line (C). Accent “la” at “dómine”. The descent continues to “re”.\\
+B The quartal pes “//ti//-bi” provides a unison connection. The cento concludes classically with “fa”, but is followed by a formula potestatis (FML pot) on “me-um”. In line C, this FML is reduced to one syllable and connected to the front in unison.\\
+A Once again, the unison connection modifies the cento, the accent “//me//-am” carries the classic short accent triculus. The actual structure of 1NOV type can barely be guessed at and yet it is latent.\\
+.\\
+INC cad\\
+{{:gr_indiv:0054_2inc_cad.png?150 |}}
+C The falling line “fa-mi-re” is enriched with FML PeCl, and “//á// me” has an accent pes.
+A Here the falling line “alleluia” is 'brushed against the grain', so to speak, with two porrectus. The “alleluia” is not an ending!
+B The cadence mega on “fa”, on the other hand, is a close, in modern terms, in the parallel major key, a semi-close to the introit, so to speak.
+-------
 {%syn:analyse:grad:0054%}