Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- gr_indiv:0655 [2025/08/02 15:36] – xaverkainzbauer
+++ gr_indiv:0655 [2025/10/19 14:22] (aktuell) – xaverkainzbauer
@@ Zeile 1: / Zeile 1: @@
+[[cento:centologia#centones_missalis|🔘]] [[0017|IN]] [[0174|GR]] [[grad:0465|TR]] [[0325|AL]] [[0480|OF]] **<fc #BD0C11>CO</fc>** <fc #ffffff>xxxxx</fc>
+✅ [[0613|2️⃣]] [[0610|3️⃣]] [[0599|4️⃣]] [[0601|5️⃣]] [[0621|6️⃣]] [[0624|7️⃣]] [[0615|8️⃣]]
+<fc #ffffff>xxxxx</fc> [[ant:0001|AN]] [[ant:7009|RP]] [[ant:9862|IV]]  [[alia:alia|alia]]
+------------------
 [[0654]] ← → [[0658]]
-{%syn:title:grad:0655%} [[grad:0655|⏹️]]\\
+{%syn:title:grad:0655%}
+[[0648]] ⟽ **[[cento_gr:cento_co1|CO 1]]** ⟾ [[0658]] <fc #ffffff>xxx</fc> [[grad:0655|⏹️]]
-GT 51\\
+ <fc #ffffff>xxx</fc> GT 51 - GN 1/35 - BzG 23/11
-BzG 23/11 - GrN 1/35
 -------
+Die hauptsächliche Ténorebene ist "fa", erst im vorletzten Cento könnte man von Ténor "sol" sprechen. Die Melodie steigt nach und nach zum "la", "si" und "do" auf. Die Finales der Centones sind "re-re - fa-fa - la-la" und am Schluss wieder "re".\\
 Wie immer ist es schwierig die assoziative Struktur des frühmittelalterlichen Cantus in eine definierende (begrenzende) neuzeitliche Darstellung zu bringen.\\
 Wenn man die Satzende-Torculi (TrcFSE) betrachtet, besteht der Wortwechsel Mutter und Sohn (Lk 2,48.49) aus drei Teilen: \\
-Die Frage und Aussage der Mutter <fc #ffffff>xxxxxxx</fc> TrcFSE <fc #ffffff>xxxxxxxxxx</fc> -> fa\\
+Die Frage und Aussage der Mutter <fc #ffffff>xxxxxxxx</fc> TrcFSE <fc #ffffff>xxxxxxxxxx</fc> -> fa\\
 Die Frage des Sohnes <fc #ffffff>xxxxxxxxxxxxxxxxxxx</fc> TrcFSE amplifiziert	-> fa\\
 Die Aussage des Sohnes (in Frageform) <fc #ffffff>xxx</fc> TrcFSE <fc #ffffff>xxxxxxxxxx</fc> -> re\\
@@ Zeile 20: / Zeile 23: @@
 {{ :gr_indiv:0655_struktur.png?400|}}
-<fc #008000>Fili quid fecisti nobis sic ? -> Do\\
+<fc #008000>Fili quid fecisti nobis sic ? -> re\\
 ego et pater tuus dolentes -> re\\
 quaerebamus te • -> fa\\
@@ Zeile 58: / Zeile 61: @@
 Why did you seek me? Did you not know that I must be in what is my Father's?
 -------
+The main tenor level is ‘fa’, only in the penultimate cento could one speak of tenor ‘sol’. The melody gradually ascends to ‘la’, “si” and ‘do’. The finales of the centones are ‘re-re - fa-fa - la-la’ and ‘re’ again at the end.\\
 As always, it is difficult to bring the associative structure of the early medieval cantus into a defining (limiting) modern representation.\\
 If we look at the end-of-sentence torculi (TrcFSE), the exchange of words between mother and son (Luke 2:48, 49) consists of three parts: \\
-The mother's question and statement <fc #ffffff>xxxxxxxxxx</fc> TrcFSE <fc #ffffff>xxxxxxxxxxxx</fc> -> fa\\
+The mother's question and statement <fc #ffffff>xxxxxx</fc> TrcFSE <fc #ffffff>xxxxxxxxxxxx</fc> -> fa\\
-The son's question <fc #ffffff>xxxxxxxxxxxxxxxxx</fc> TrcFSE amplified - > fa\\
+The son's question <fc #ffffff>xxxxxxxxxxxxxxxxxxxxxx</fc> TrcFSE amplified<fc #ffffff>xxxx</fc>  -> fa\\
-The son's statement (in question form) <fc #ffffff>xxx</fc> TrcFSE <fc #ffffff>xxxxxxxxxxxxxx</fc> -> re\\\
+The son's statement (in question form) <fc #ffffff>xxxxx</fc> TrcFSE <fc #ffffff>xxxxxxxxxxxx</fc> -> re\\
 <fc #008000>Fili quid fecisti nobis sic ? ego et pater tuus dolentes quaerebamus te -\\
@@ Zeile 71: / Zeile 75: @@
 {{ :gr_indiv:0655_struktur.png?400|}}
-<fc #008000>Fili quid fecisti nobis sic ? -> Do\\
+<fc #008000>Fili quid fecisti nobis sic ? -> re\\
 ego et pater tuus dolentes -> re\\
 quaerebamus te - -> fa\\
 et quid est quod me quaerebatis - -> fa\\
 an nesciebatis quia in his quae patris mei sunt -> la\\
-oportet me esse - -> re</fc>\\\
+oportet me esse - -> re</fc>\\
 Essential is the use of the **Porrectus** (green), which drives the flow of speech forward and prevents stresses and endings.\\