Notazione | Datazione | sec. X exeunte |
Tipo | German | |
Note | A German notation copied in an Ordinal compiled at the Benedictine Abbey of St Alban at Mainz, whose individual forms show some variety, especially in the angles of the strokes of the pes (2a). The mark added to the clivis (2b) to signal elongation of the first syllable is added at the left-hand side rather than at the head of the form. The significative letters e(qualiter), t(enete) and s(ursum) are used. | |
Trascrizione | Trascrizioni diplomatiche | Homo-Wien1888-1 Homo-Wien1888-2 |
Trascrizione alfanumerica | 1b, 1a, 2a, 1a, 1a, 1a, 1d, "2b", "3b", 1a "2b", 1a, 2a, 1a, 1a, 1d, 2a, 1d | "2b", 1d, 2a, "2b", 1a, 1d, 1a, 1a, 1b, 1a, 1c, 1b, 1', 1d | 1a, 1b, "2b", 2a, "2b", 1d, 1a, "2b", 1b, 1b, 1a, 2b, "2b", 1b, 1a, 1a || 1b, 1a, 2a, 1a, 1a, "3c", 3''D, 1c, 1a, "2b", 2b, 1b, 1b, 2a, 1b | "2b", 1a, 1a, "2b", 1', 1a, 1b, 1b, 1a, 1a, 1a, 1b, 1', 1b | 1b, 1a, 2a, 1a, 1b, 1a, 2b, 1b, 1b, 1a, 2b, "2b", 1a, 1b, 1a, 1a | 1b, 1a || 1b, 1a, 2a, 1a, 1c, 2a, 3''D, 1c, 3a'', 2b, 1a, 1a, 2a, 1b | 1a, "2b", 1a, 1a, 1d, 1a, 2b, 1b, 1b, 1a, "2b", 1a, 1d, 1', 1b | 1a, 1c, 1a, 2a, 1a, "3c", 2b, 1c, 1b, 2b, "2b", 1a, 1b, 1a, 1a | 1c, 1a || 1b, 1a, 2a, 1a, 1a, "3b", 3''D, 1b, 1a, 1a, "2b", 1a, 1d, 2a, 1a | 1a, 1a, 1a, "2b", 1a, 1b, "2b", 2b, 1b, 1c, 1a, 1a, 1a, 1d, 1', 1d | 1a, 1b, 1a, 2a, 1a, 1b, 1a, 2b, 1c, 1c, "2b", "2b", 1a, 1d, 1a, 1a | 1b, 1a || 1c, 1a, 2a, 1c, 1b, 1a, 2b, 1b, 1a, 2b, 1a, 1b, 2a, 1b | 1a, 1a, 1a, "2b", 1b, 1a, 2b, 1c, 1c, 1a, 1c, 1a, 1a, 1', 1c | 1a, 1a, 1d, 1a, 2a, 1a, 1b, 1a, 2b, 1a, 1b, "2b", 1a, "2b", 1d, 1a, 1a | 1c, 1a || 1c, 1a, 2a, 1a, "3c", 3''D, 1b, 1b, 1a, 1a, 1a, 1b, 1a, 1a, 2a, 1b | 2''b'', 1b, 1a, 2b, 1a, 1d, 1a, 1a, 1a, 1c, 1', 1d ' 1b, 1a, 2a, 1a, 1c, 1a, 1c, 1c, 1b, 2b, "2b", 1a, 1b, 1a, 1a ' 1c, 1a, 2a, 1a | |
Tavole di confronto | XHomoquidam-1 XHomoquidam-2 XHomoquidam-3 XHomoquidam-4 | |
Melodia | The four transcribed melodies (aligned in the book entry) appear almost identical in content and parsing. The only substantial difference between the versions occurs in the first line of the fifth strophe. In Ful Aa 62, Abraham is shifted to the melodic figures associated with syllables 6 to 8. In Bu 7, the word order found elsewhere is reversed (Patrem vocat Abraham becomes Abraham patrem vocat) with melodic outline for syllables 5 to 7 following the profile given in Ful Aa 62 for syllables 6 to 8. The observations made for Lo 19768 also hold for Wie 1888 due to the close concordance in the pattern of neumes. A further layer of information is provided in Wie 1888 by the performance indications. In the first line of the second strophe c(eleriter) and t(enete) are added to qui-dam, indicating that weight is to be accorded to the second syllable rather than the first. This indication runs contrary to the accent pattern of the individual word, but is in accordance with the overall tendency to retain stresses on the melodic figures associated with odd-numbered syllables in the line. Lengthening is also routinely indicated on the syllable before the caesura in the second and third lines of each strophe, on the twelfth syllable of the line when the line ends with a three-syllable word (suggesting a pause before a self-contained cadence), and on the final syllable of the strophe. | |
Edizioni musicali | ||
Trasmissione |