Notazione | Datazione | sec. XIV | ||||||
Tipo | Late German | |||||||
Note | A late German notation whose virga resembles a horseshoe, hence the common label for this script: 'Hufnagelschrift'. This example of the notation appears as part of a Gradual from a German Benedictine Abbey, in which the text is assigned to the first Sunday after the octave of Pentecost. | |||||||
Trascrizione | Trascrizione alfanumerica | 1d, 1c, 2a, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 3a'', 1c, 1c, 1d, 2a, 1d | 1c, 1c, 3a'', 1c, 2b, 1d, 1c, 1c, 1d, 1c, 1c, 1c, 1c, 1d | 1c, 1d, 1c, 2a, 1c, 1d, 1c, 2b, 1c, 1c, 1c, 2b, 1c, 1d, 1c, 1c || 1c, 1c, 2a, 1c, 1c, 3a'', 2b, 1c, 1c, 1c, 2b, 1c, 1c, 2a, 1d | 1c, 1c, 1c, 1d, 1c, 2b, 1c, 1d, 1c, 1c, 1c, 1c, 1c, 1d | 1d, 1d, 2a, 1c, 1d, 1c, 2b, 1c, 1d, 1c, 2b, ''2b'', 1c, 1d, 1c, 1c || 1d, 1c, 2a, 1c, 1c, 3a'', 2b, 1c, 3a'', 2b, 1c, 1c, 2a, 1d | 1c, 1c, 1c, 1c, 1d, 1c, 2b, 1c, 1d, 1c, 1c, 1c, 1c, 1c, 1d | 1c, 1d, 1c, 2a, 1c, 2a, 2b, 1d, 1d, 2b, ''2b'', 1c, 1d, 1c, 1c || 1d, 1c, 2a, 1c, 1c, 3a'', 2b, 1c, 1d, 1c, 2b, 1c, 1d, 2a, 1d | 1c, 1c, 1c, 1c, 1c, 1d, 1c, 2b, 1c, 1d, 1c, 1c, 1c, 1d, 1d, 1d | 1c, 1d, 1c, 2a, 1c, 1d, 1c, 2b, 1c, 1c, 1c, 1c, 1c, 1d, 1c, 1c || 1c, 1c, 2a, 1c, 3a'', 2b, 1c, 1c, 1c, 2b, 1c, 1c, 2a, 1d | 1c, 1c, 1c, 1c, 1d, 1c, 2b, 1c, 1d, 1c, 1c, 1c, 1c, 1c, 1d | 1c, 1c, 1d, 1c, 2a, 1c, 1d, 1c, 2b, 1c, 1c, "2b", 1c, 1c, 1d, 1c, 1c || 1c, 1c, 2a, 1c, 3a'', 2b, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2a, 1d | 1c, 1d, 1c, 2b, 1c, 1d, 1c, 1c, 1c, 1c, 1c, 1d | 1d, 1c, 2a, 1c, 1d, 1c, 2b, 1c, 1c, 1c, "2b", 1c, 1d, 1c, 1c | ||||||
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 Ful Aa 62 due to the close correspondence in the indicated melodies. The only point of difference in Ful Aa 62 from both Lo 19768 and Wie 1888 occurs in the first line of the fifth strophe, where Abraham is shifted to the melodic figures associated with syllables six to eight. This disrupts the association of accent and melodic gesture, but retains the overall melodic shape of the line. | |||||||
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