Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- gr_indiv:0727 [2025/04/27 20:47] – xaverkainzbauer
+++ gr_indiv:0727 [2026/03/17 11:57] (aktuell) – xaverkainzbauer
@@ Zeile 1: / Zeile 1: @@
+[[cento:centologia#centones_missalis|🔘]] [[0006|IN]] [[0168|GR]] [[grad:0465|TR]] [[0290|AL]] [[0494|OF]] **<fc #BD0C11>CO</fc>** <fc #ffffff>xxxxx</fc>
+[[0603|1️⃣]] [[0613|2️⃣]] ✅ [[0599|4️⃣]] [[0601|5️⃣]] [[0621|6️⃣]] [[0624|7️⃣]] [[0615|8️⃣]]
+<fc #ffffff>xxxxx</fc> [[ant:0034|AN]] [[ant:7012|RP]] [[ant:9831|IV]]  [[alia:alia|alia]]
+------------------
 [[0726]] ← → [[0729]]
+{%syn:title:grad:0727%} [[0717]] ⟽ **[[cento_gr:cento_co3|CO 3]]** ⟾ [[0743]] <fc #ffffff>xxx</fc>
-{%syn:title:grad:0727%} [[grad:0727|⏹️]]\\
+[[grad:0727|⏹️]]<fc #ffffff>xxx</fc> GT 77 - BzG 24/26 + GrN 1/69
-GT 77\\
-BzG 24/26 + GrN 1/69
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 Ein transponierendes Stück (cf.: BzG 24,26). Diese Transposition wird in den unterschiedlichen Handschriften unterschiedlich dargestellt. Ausgangspunkt müssen die Aquitanier A + Y sein. Während A grundsätzlich den Melodieverlauf ohne Rücksicht auf Halbtöne (Vorzeichen) notiert, verschiebt Y Teile der Melodie, um "halbtongerecht" zu notieren. (cf. Rupert Fischer BzG 23, 90). Daraus ergibt sich für "Scapulis suis" folgende Situation:\\
@@ Zeile 12: / Zeile 13: @@
 <fc #4682b4>"et sub pén-nis eius sperabis"</fc> der Cento **RP Ω i** zeigt das Fehlen jeder Betonung an. Der Akzent liegt zuvor bei "pénnis".
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+  Er beschirmt dich mit seinen Flügeln,
+  unter seinen Schwingen findest du Zuflucht,
+  Schild und Schutz ist seine Treue.
+  He shields you with his wings,
+  you find refuge under his wings,
+  shield and protection is his faithfulness.
+A transposed piece (cf.: BzG 24,26). This transposition is represented differently in the various manuscripts. The Aquitanian manuscripts A and Y must be taken as the starting point. Whilst A generally notates the melodic progression without regard to semitones (accidentals), Y shifts parts of the melody in order to notate it ‘in semitones’. (cf. Rupert Fischer BzG 23, 90). This results in the following situation for “Scapulis suis”:\\
+In relation to the beginning “Scapulis suis obum-” and the end “veritas eius”, the entire piece must be transposed up a tone, which would lead to “F#” and “C#”. We notate the transposition using a ‘bar line’ and Custos. A and Y are to be read vice versa: Y notates the middle section lower to represent the semitones correctly; A has the melodic progression correct, but we have transposed it lower.\\
+In Bv34 and Kl, the section ‘circumdabit te’ is already notated ‘correctly’ in relation to the other sources; Bv34 sets the first part “Scapulis suis obum-” lower (“fa-sa”) and thus correctly in relation to what follows. Mp notates in the “do-fa” range with consistent use of the low “si-be-molle”, but has therefore not transposed the middle section of the Communio either.\\
+In Bv33, the transitions between the phrases are not notated correctly ( ‘tibi / et’, ‘sperabis / scuto’ ) !
+<fc #4682b4>‘et sub pén-nis eius sperabis’</fc> the Cento **RP Ω i** indicates the absence of any stress. The accent previously lay on ‘pénnis’.
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 {%syn:analyse:grad:0727%}