Here’s a couple of preliminary tables comparing Haik-Vantoura with traditional cantillation. The percentages are
summarized from the 16.5% of the Bible that I currently have in my database.
I
have noted which signs are conjunctive and which are disjunctive. No sign appears in both columns.
Next I will work
through several examples to see if the traditional ‘explanation’ is better ‘explained’
by the musical scheme of Suzanne Haik-Vantoura. I have never seen such confusion in the online resources. (If you seek pain, compare Mechon-Mamre,
Wikipedia, and other sources for cantillation and coding.) I do not believe that
this has to be so complex.
This first set of signs is the set for the 21 books. Music
will separate the text note by note from the prior text, allowing an accent at
the equivalent of a ‘bar line’. Each of the signs to the left changes the
reciting note. The music for a verse always returns to the tonic E. The mid-point
of most verses cadence on subdominant A. The percentage below is calculated as
number of verses in the sample (about 15% of TNK) over the total verses in the
sample 2527 poetry + 1276 prose = 3803 total, at present.
per Haik-Vantoura
|
Usage – 0 means never
|
Traditional explanation
|
||||
Unicode (decimal)
|
Sign
|
Shape/
Note
|
Poetry
%/vs
|
Prose
%/vs
|
Disjunctive (level)
|
Conjunctive serves
|
1447
|
Darga
|
כ֧ c
|
0
|
12
|
tevir
|
|
1435
|
Tevir
|
ד֛ d
|
0
|
29
|
2/3
|
|
1469
|
Silluq
|
עֽ e
|
100
|
100
|
1
|
|
1445
|
Merkha
|
פ֥ f
|
67
|
74
|
silluq, tifcha
|
|
1430/53
|
Tifcha
|
ג֖ g#
|
23
|
87
|
2
|
|
Dehi
|
ג֭
|
56
|
0
|
|||
1425
|
Atnah
|
א֑ A
|
99
|
75
|
1
|
|
1443
|
Munah
|
ב֣ B
|
82
|
68
|
4?
|
everybody
|
1444/34
|
Mahpach
|
ך֤ C
|
21
|
36
|
pashta
|
|
Yetiv
|
ך֚
|
0
|
6
|
Traditional cantillation and Haik-Vantoura agree on the
importance and the cadences effected for both silluq and atnah. From there on
there is little agreement in function apart from the musical accent produced by
a change of note or a melisma. For traditional cantillation, the tifcha is a ‘lesser
cadence’ (Jacobson 48). For SHV it is the leading tone as a reciting note. It
is not a cadence, though it certainly aids pronunciation. Traditional cantillation has no concept of a change in reciting note. This concept is signaled for SHV by the placing of the 8 (or 7 for the poetry) signs below the letters. It is fundamental to her theory.
For the 3 books, drop darga, tevir, add galgal. The remainder of the 7
note poetry scale is identical to the above except sharpen the f. Default mode
is E minor but several modes are possible with both sets of signs. The
combination of ole-veyored is quite frequent and forms a cadence on the
supertonic (in the default mode, an f#).
Unicode (decimal)
|
Sign
|
Shape/ Note
|
Poetry
%/vs
|
Prose
%/vs
|
Disjunctive (level)
|
Conjunctive serves
|
1450
|
Galgal
|
ד֪ d#
|
8
|
0
|
qarney
para pazer gadol
|
|
1451+1445
|
Ole-veyored
|
ב֫ב֥
|
67 (often together)
|
74 (maybe separately)
|
2
|
|
1437+1431
|
Geresh-revia
|
ב֝ב֗
|
75
|
30
|
two in a row
|
Note 1442 ב֢ is exactly = 1450ב֪ . I have no coded examples of 1442 so far.
I don’t know why 1442 exists.
Music joins, conjoins and disjoins its libretto in all sorts
of ways. These are part of the mystery of language and creation as well as
human creativity. The Word of God is meant to be sung so that in the singer it
lives.
per Haik-Vantoura
|
Usage – 0 means never
|
Traditional explanation
|
|||||
Unicode (decimal)
|
Sign
|
Shape
|
Poetry
|
Prose
|
Disjunctive
(level)
|
Conjunctive serves
|
|
1426
|
Segol
|
ש֒
|
0
|
4
|
4?
|
||
1427
|
Shalshelet
|
שׁ֓
|
1
|
0.15
|
4?
|
||
1428
|
Zaqef Qatan
|
ז֔
|
0
|
70
|
2
|
||
1429
|
Zaqef Gadol
|
ז֕
|
0
|
40
|
2
|
||
1431
|
Revia
|
ר֗
|
76
|
30
|
3
|
||
1432/54
|
Zarqa
|
ז֘
|
6
|
0
|
there is no distinction in these pairs except timing of the melisma
and which books they are used in
|
3
|
|
Zinor
|
ז֮
|
8
|
4
|
3
|
|||
1433/48
|
Pashta
|
ף֙
|
0
|
63
|
3
|
||
Qadma
|
ק֨
|
11
|
23
|
3
|
|||
1436/7
|
Geresh
|
ג֜
|
0.04
|
14
|
4
|
||
Geresh Muqdam
|
ג֝
|
66
|
0
|
4
|
|||
1438
|
Gershayim
|
ג֞
|
0
|
6
|
4
|
||
1439
|
Qarney Para
|
ק֟
|
0
|
0
|
like horns
|
4
|
|
1440
|
Telisha Gedola
|
ת֠
|
0
|
3
|
4
|
||
1441
|
Paser
|
ף֡
|
3
|
2
|
4
|
||
1449
|
Telisha Qetana
|
ט֩
|
0
|
6
|
Zarqa
|
||
1451
|
Ole
|
ל֫
|
13
|
0
|
2
|
||
1452
|
Illuy
|
י֬
|
5
|
0
|
=Munah Jacobson p 929
|
||
1455
|
Masora Circle
|
ס֯
not
used
|
0
|
0
|
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