Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- gr_indiv:0164 [2026/03/16 20:50] – xaverkainzbauer
+++ gr_indiv:0164 [2026/03/16 20:54] (aktuell) – xaverkainzbauer
@@ Zeile 13: / Zeile 13: @@
 Zur Bewertung der aquitanischen Quellen: sie verkürzen gerne Intervalle.\\
 Zur Bewertung Benevents: Erweiterungen, zusätzliche Schnörksel aber auch melodische Erweiterungen kommen vor.\\
-🌓 Eine klassische 50:50-Situation.\\
+Eine klassische 50:50-Situation.\\
 Zusätzliches Argument: Bei sprechend flüssiger Interpretation dieser Stelle mit einer beweglichen Kleinschola ist das "do" nicht zu treffen, wohl aber mit einer Kathedralschola die auf Grund der Akustik die einzelnen Töne klopfen muss.
@@ Zeile 23: / Zeile 23: @@
 **E** adducentur tibi 		  -  **F**  in laetitia et exsultatione.	3. Periode\\
+{{ :gr_indiv:0164_synopsis.png?200|}}
 Die Schlüsse B-D-F wiederholen den Satzende-Torculus (TrcFSE), der mit einem TrcGRAV auf der praetonischen Silbe eingeleitet ist (Der ‹gewichtige Torculus› wird in B mit ‹inferius› zum ersten Ton und ‹levare› zum Gipfelton eindeutig festgelegt: «do-mi-re»). In D und F ist der TrcGRAV mit einer Resupin-Bewegung zur FML A-Por erweitert («do-mi-do-re»). In D wird der Melodieverlauf abermals mit ‹inferius› und ‹levare› gesichert, bei der  Wiederholung der FML in F nicht mehr.
@@ Zeile 54: / Zeile 55: @@
 To evaluate the Aquitanian sources: they like to shorten intervals.\\
 To evaluate Beneventus: extensions, additional flourishes but also melodic extensions occur.\\
-🌓 A classic 50:50 situation.\\
+A classic 50:50 situation.\\
 Additional argument: the “do” cannot be hit with a fluent interpretation of this passage with a movable small schola, but it can be hit with a cathedral schola that has to tap the individual notes due to the acoustics.
+===== An Attempt at Analysis =====
+The Introit is clearly divided into three sections, each consisting of two centones:
+**A** Vultum tuum deprecabuntur - **B** omnes divites plebis         1st section\\
+** C** virgines shall be brought before the king      - **D** those next to her      2nd period\\
+**E** shall be brought before thee          - **F** in joy and exultation.    3rd period\\
+{{ :gr_indiv:0164_synopsis.png? 200|}}
+The cadences B-D-F repeat the sentence-ending torculus (TrcFSE), which is introduced by a TrcGRAV on the praetonic syllable (The ‘weighty torculus’ is clearly defined in B with ‘inferius’ as the first note and ‘levare’ as the peak note: ‘do-mi-re’). In D and F, the TrcGRAV is extended to the FML A-Por with a resupin movement (“do-mi-do-re”). In D, the melodic progression is once again secured with ‘inferius’ and ‘levare’, but not so in the repetition of the FML in F.
+The corpus of this concluding cento forms the recitation “re”.
+In F, only the monosyllabic pes on the morpheme ‘et ex-súl-tatione’ stands out from the recitation, making the text clearly a ‘cursus planus’ ( / . . / .). The epiphonus prevents a pes ‘mi-fa’.
+Cento D raises both accents to ‘fa’, but weakens them both;
+‘post éam’ through the continuing and connecting Clv ‘fa-mi’,
+‘próximae’ through the Tristropha. Although it lengthens the syllable, it gives it no weight whatsoever.
+Cento B is more elaborately composed: ‘ómnes’ is a ‘re-fa’ pes, the second note is strophically extended, ‘dívi-tes’ reinforces the accent with a bivirga and additionally catches this on the internal syllable with a kTrc ‘fa-sol-fa’, the only time the first period exceeds the tenor ‘fa’. All three periods end with cursus planus.
+The first centones also recite on ‘re’, but generally rise to ‘fa’. The core is the Bivirga formula ‘re- fafa- fa-re’, which is used four times.
+Thus in A at the end of the Cento, the Cephalicus prevents a passing-through Clv.
+In C and the second time in E, the stressed syllable rises from the recitation level ‘fa’ with a monosyllabic pes to ‘sol’. The Cephalicus on ‘addu-cén-tur 1’ prevents a further ascent to ‘la’. However, the ‘altius’ below secures the ascent to ‘sol’.
+‘addu-cen-tur 2’ no longer emphasises its accent through a pes but through a mere ‘tenete’. The ‘sursum’ beneath the virga prevents the passing tone ‘mi’. Strictly speaking, the third-degree leap would be a task for the virga strata (which is not a semitone pes!).
+ Similarly, the ‘inferius’ at the end of the word “adducen-tur 2” prevents a “mi”. The descent below the finalis (“tibi”) produces a ‘Colon’ – a colon – before the bivirga formula “re- fafa- fa-re” is immediately repeated. “adducentur tibi : in laetítia”. The climax of the entire Introit occurs on the final syllable of the word ‘laetíti-a’, the sole ‘la’ in a current 8-note neume with an initial and prepared final articulation ‘fa-la-sol-fa-mi-re-fa-re’. This is the only ‘individual’ passage in the Introit (?).
+{{:gr_indiv:0164_laetitia.png?150 |}}
+The third-based Trc ‘re-fa-re’ at ‘virgines’ is a TrcFSE, but the third keeps the tension open; it does not resolve.
+‘régi’ is essentially a recitative ‘fa’, with an accented ‘fa-sol’ and a concluding clm ‘sol-fafa-re’ amplified on the tenor. This neume is very frequently found as part of a cadence formation.
+Finally, the incipit of Cento A remains to be discussed.
+The FML katab, the descent below the finalis to the fourth ‘re-do-La’, is an essential component of the 2nd mode. It sets important texts to music, which are not to be spoken aloud, but achieve their significance through a particular stillness.
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 {%syn:analyse:grad:0164%}