{"id":12135,"date":"2024-05-24T11:00:00","date_gmt":"2024-05-24T11:00:00","guid":{"rendered":"https:\/\/www.lhi.is\/?post_type=threads&p=12135"},"modified":"2024-05-23T11:23:10","modified_gmt":"2024-05-23T11:23:10","slug":"gatuton-art-of-the-renaissance-and-hid-torraeda","status":"publish","type":"threads","link":"https:\/\/www.lhi.is\/en\/thraedir\/thraedir-tolublad-9\/gatutonlist-endurreisnarinnar-og-hid-torraeda\/","title":{"rendered":"The riddle music of the Renaissance and the rude"},"content":{"rendered":"\n
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G\u00e1tut\u00f3nlist endurreisnarinnar og hi\u00f0 torr\u00e6\u00f0a<\/h1>\n\t\t\t\t\t<\/div>\n\t
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G\u00e1tut\u00f3nlist endurreisnarinnar og hi\u00f0 torr\u00e6\u00f0a<\/strong><\/p>\n

Einar Torfi Einarsson<\/p>\n\"\"\n

 <\/p>\n

\u00cd \u00feessari stuttu grein ver\u00f0ur skyggnst inn \u00ed heim endurreisnarinnar og hvernig g\u00e1tumenning \u00feess t\u00edma endurspegla\u00f0ist \u00ed t\u00f3nlistinni og \u00fe\u00e1 s\u00e9rstaklega rita\u00f0ri t\u00f3nlist. \u00deessi t\u00f3nlistarmenning \u00f3l af s\u00e9r eitthva\u00f0 sem \u00e9g vil h\u00e9r kalla g\u00e1tut\u00f3nlist.<\/p>\n

 <\/p>\n

G\u00e1tumenning \u00e1 endurreisnart\u00edmanum<\/strong><\/p>\n

Endurreisnart\u00edmabili\u00f0 einkenndist af endurn\u00fdju\u00f0um \u00e1huga \u00e1 mannlegri reynslu, v\u00edsindum, listum og fornri \u00feekkingu. \u00c1 \u00feessum t\u00edma bl\u00f3mstru\u00f0u listir og v\u00edsindi, og menningarlegt landslag Evr\u00f3pu t\u00f3k miklum breytingum. \u00cd \u00feessum anda \u00fer\u00f3unar og endurn\u00fdjunar f\u00f3ru t\u00f3nsk\u00e1ld a\u00f0 leika s\u00e9r a\u00f0 n\u00fdjum hugmyndum \u00ed sk\u00f6pun sinni, \u00fear \u00e1 me\u00f0al me\u00f0 notkun \u00ferauta e\u00f0a g\u00e1tna. G\u00e1tut\u00f3nlistin (e. musical riddles) var ekki einungis skemmtileg vitsmunaleg \u00e1skorun, heldur endurspegla\u00f0i h\u00fan einnig d\u00fdpri leit a\u00f0 \u00feekkingu og skilningi \u00e1 heiminum.<\/p>\n

G\u00e1tut\u00f3nlist \u00e1 endurreisnart\u00edmanum var listform \u00fear sem t\u00f3nsk\u00e1ldin bjuggu til verk sem f\u00f3lu \u00ed s\u00e9r dulin skilabo\u00f0 e\u00f0a \u00ferautir sem \u00feurfti a\u00f0 leysa. \u00deessi t\u00f3nverk, oft bygg\u00f0 \u00e1 fl\u00f3kinni t\u00f3nsm\u00ed\u00f0at\u00e6kni og \u00feemum, k\u00f6llu\u00f0u \u00e1 dj\u00fapa greiningu og inns\u00e6i b\u00e6\u00f0i fr\u00e1 flytjendum og \u00e1heyrendum. Me\u00f0 \u00fev\u00ed a\u00f0 nota g\u00e1tur \u00ed t\u00f3nsm\u00ed\u00f0um s\u00ednum sk\u00f6pu\u00f0u t\u00f3nsk\u00e1ldin ver\u00f6ld \u00fear sem t\u00f3nlistin var ekki a\u00f0eins til af\u00fereyingar e\u00f0a \u00ed \u00e1kve\u00f0nu \u00fej\u00f3nustuhlutverki, heldur einnig sem lei\u00f0 til a\u00f0 \u00f6gra huganum og leita a\u00f0 d\u00fdpri merkingu.<\/p>\n

G\u00e1tut\u00f3nlist veitti t\u00e6kif\u00e6ri til a\u00f0 d\u00fdpka skilning \u00e1 t\u00f3nlistarformi, t\u00f3nsm\u00ed\u00f0aa\u00f0fer\u00f0um, samspili hlj\u00f3\u00f0f\u00e6ra og radda, og tengingu \u00feeirra vi\u00f0 hugmyndafr\u00e6\u00f0i og heims\u00fdn. Flytjendur \u00feurftu a\u00f0 vera skarpir og skapandi \u00ed n\u00e1lgun sinni til a\u00f0 greina og leysa \u00ferautirnar sem falist g\u00e1tu \u00ed t\u00f3nverkunum, hvort sem \u00fea\u00f0 voru duldar raddir, t\u00e1knbundin notkun t\u00f3na e\u00f0a fl\u00f3knar samsetningaa\u00f0fer\u00f0ir. \u00deessi ferli kr\u00f6f\u00f0ust ekki a\u00f0eins t\u00e6knilegrar f\u00e6rni heldur einnig d\u00fdpri skilnings \u00e1 t\u00f3nlistarhef\u00f0um og s\u00f6gulegu og samf\u00e9lagslegu samhengi.<\/p>\n

T\u00e1kn og merkingar<\/strong><\/p>\n

Notkun t\u00e1knr\u00e6nna og alleg\u00f3r\u00edskra \u00fe\u00e1tta var daglegt brau\u00f0 \u00ed g\u00e1tut\u00f3nlist endurreisnarinnar. T\u00f3nsk\u00e1ldin notu\u00f0u t\u00e1kn sem v\u00edsu\u00f0u \u00ed v\u00ed\u00f0ara menningarlegt, tr\u00faarlegt e\u00f0a heimspekilegt samhengi. \u00deetta gaf flytjendum og \u00e1heyrendum t\u00e6kif\u00e6ri til a\u00f0 t\u00falka verkin \u00e1 pers\u00f3nulegan h\u00e1tt og tengja vi\u00f0 st\u00e6rri hugmyndir og hef\u00f0ir sem voru r\u00edkjandi \u00e1 \u00feessum t\u00edma.<\/p>\n

\u00cd gegnum \u00feetta listform \u00fer\u00f3u\u00f0u t\u00f3nsk\u00e1ldin vettvang fyrir vitsmunalega og tilfinningalega k\u00f6nnun e\u00f0a ferli sem samofi\u00f0 var \u00feessum \u00fe\u00e1ttum. G\u00e1tan, almennt s\u00e9\u00f0, \u00ed listum og menningu endurreisnart\u00edmabilsins var \u00fev\u00ed ekki a\u00f0eins uppspretta skemmtunar e\u00f0a vitsmunalegrar \u00e1skorunar, heldur einnig dj\u00fapst\u00e6tt ferli sem f\u00f3l \u00ed s\u00e9r t\u00e1knr\u00e6nt fer\u00f0alag fr\u00e1 myrkri yfir \u00ed lj\u00f3s. G\u00e1tan sem sl\u00edk var \u00fev\u00ed einnig \u00e1kve\u00f0i\u00f0 t\u00e1kn. \u00deetta ferli a\u00f0 leysa g\u00e1tuna \u2013 sem m\u00e6tti einnig l\u00edkja vi\u00f0 fer\u00f0alag fr\u00e1 \u00f3vissu og \u00feekkingarleysi yfir \u00ed upplj\u00f3mun og skilning \u2013 var grundvallar\u00fe\u00e1ttur \u00feessarar n\u00e1lgunar. \u00cd \u00feessu samhengi er g\u00e1tan ekki a\u00f0eins pr\u00f3fraun e\u00f0a leikur, heldur vettvangur fyrir einstaklinginn til a\u00f0 sko\u00f0a og \u00fer\u00f3a sinn eiginn skilning og visku.[1]<\/a> Byrjunarreiturinn, e\u00f0a \u201emyrkri\u00f0\u201c, t\u00e1knar upphaflegt \u00e1stand \u00f3vissu og ruglings \u00fear sem merkingin \u00e1 bak vi\u00f0 g\u00e1tuna e\u00f0a verki\u00f0 er hulin. \u00deetta \u00e1stand kallar \u00e1 \u00edgrundun, greiningu og dj\u00fapa hugsun fr\u00e1 \u00feeim sem reyna a\u00f0 finna lausnina.<\/p>\n

\u00deegar fer\u00f0alaginu er haldi\u00f0 \u00e1fram, \u00feegar einstaklingurinn notar b\u00e6\u00f0i skynsemi og inns\u00e6i til a\u00f0 f\u00e1st vi\u00f0 g\u00e1tuna, birtast fyrstu brot skilningsins og \u201elj\u00f3si\u00f0\u201c ver\u00f0ur sm\u00e1m saman s\u00fdnilegra. \u00deetta \u201elj\u00f3s\u201c stendur fyrir upplj\u00f3munina sem f\u00e6st vi\u00f0 a\u00f0 afhj\u00fapa faldar merkingar og tengingar innan verksins, sem veitir ekki a\u00f0eins skilning \u00e1 sj\u00e1lfu t\u00f3nverkinu heldur einnig \u00e1 \u00feeim d\u00fdpri menningarlegu, heimspekilegu og tilfinningalegu \u00fe\u00e1ttum sem \u00fea\u00f0 endurspeglar.<\/p>\n

\u00c1 endanum, \u00feegar g\u00e1tan er leyst og \u201elj\u00f3sinu\u201c n\u00e1\u00f0, ver\u00f0ur \u00fea\u00f0 ekki einungis merki um a\u00f0 einstaklingurinn hafi n\u00e1\u00f0 t\u00e6knilegum e\u00f0a vitsmunalegum afrekum, heldur einnig um pers\u00f3nulega og andlega \u00fer\u00f3un. Fer\u00f0alag g\u00e1tunnar fr\u00e1 myrkri til lj\u00f3ss ver\u00f0ur \u00feannig t\u00e1knr\u00e6n endurspeglun \u00e1 mannlegri leit a\u00f0 skilningi og \u00feekkingu, ferli sem endurspeglar ekki a\u00f0eins v\u00f6xt einstaklingsins heldur einnig sameiginlega menningarlega arfleif\u00f0 og heims\u00fdn endurreisnarinnar.[2]<\/a><\/p>\n

\u00deetta ferli fr\u00e1 myrkri yfir \u00ed lj\u00f3s \u00ed gegnum g\u00e1tuna og sem ferli \u00ed flutningi g\u00e1tut\u00f3nlistar \u00e1 endurreisnart\u00edmanum veitir okkur inns\u00fdn \u00ed hvernig listir og menning \u00e1 \u00feessum t\u00edma l\u00f6g\u00f0u ekki a\u00f0eins \u00e1herslu \u00e1 skynr\u00e6na e\u00f0a fagurfr\u00e6\u00f0ilega upplifun heldur einnig a\u00f0 \u00feeirri d\u00fdpri leit a\u00f0 merkingu, skilningi og upplj\u00f3mun. \u00deetta er skemmtilega, og a\u00f0 m\u00f6rgu leyti, \u00e1 skj\u00f6n vi\u00f0 n\u00fat\u00edmann \u00fear sem flutningur verka rei\u00f0ir sig sem mest \u00e1 flutningshef\u00f0ir (e. performance practice) svo hlutirnir gangi sem flj\u00f3tast fyrir sig (en au\u00f0vita\u00f0 eru undantekningar \u00e1 \u00fev\u00ed). M\u00e6tti \u00fev\u00ed segja a\u00f0 h\u00e9r n\u00e6r verki\u00f0 tilgangi s\u00ednum ef \u00fea\u00f0 skilst ekki<\/em> vi\u00f0 fyrstu kynni.<\/p>\n

Crux Christi og Miraris Mundum<\/strong><\/p>\n

\"Mynd<\/a><\/strong><\/p>\n

Mynd 1: <\/strong>Crux Christi<\/em> (1595), Adam Gumpelzhaimer<\/h5>\n

Eitt verk sem gefur okkur sm\u00e1 inns\u00fdn \u00ed \u00feennan heim er Crux Christi<\/em> (1595) eftir Adam Gumpelzhaimer (sj\u00e1 mynd 1). Til a\u00f0 leysa \u00feessa g\u00e1tut\u00f3nlist \u00feurftu flytjendur a\u00f0 skilja fl\u00f3ki\u00f0 samspil textakan\u00f3na og myndr\u00e6na framsetningu t\u00f3nlistarinnar. Crux Christi<\/em> samanstendur af t\u00f3nlist sem er ritu\u00f0 innan fj\u00f6gurra hringja og kross, sem hver um sig ber me\u00f0 s\u00e9r mikilv\u00e6ga tr\u00faarlega t\u00e1knmynd. Hringirnir fj\u00f3rir t\u00e1kna gu\u00f0spjallamennina, merktir me\u00f0 hef\u00f0bundnum t\u00e1knum \u00feeirra: engil fyrir Matteus, v\u00e6ngja\u00f0 lj\u00f3n fyrir Mark\u00fas, v\u00e6ngja\u00f0an uxa fyrir L\u00fakas og \u00f6rn fyrir J\u00f3hannes. \u00deegar t\u00f3nlistin \u00ed \u00feessum hringjum er sameinu\u00f0, myndar h\u00fan \u00e1tta radda samsetningu sem nefnist Quatuor evangelistae.[3]<\/a><\/p>\n

Lykillinn a\u00f0 \u00fev\u00ed a\u00f0 finna \u00feessar \u00e1tta raddir \u00far fj\u00f3rum hringjum felst \u00ed textakan\u00f3ninum sem settur er \u00e1 milli \u00feeirra. Gumpelzhaimer notar h\u00e9r vers \u00far \u00feekktum s\u00e1lmi (sem Ludwig Senfl haf\u00f0i \u00e1\u00f0ur vali\u00f0 fyrir s\u00ednar krossg\u00e1tur og myndar \u00fev\u00ed g\u00e1tu-samhengi): \u201eMisericordia et veritas obviaverunt sibi\u201c (miskunn og sannleikur m\u00e6tast). Flytjendur \u00feurftu a\u00f0 lesa \u00far \u00feessu a\u00f0 flytja \u00e6tti t\u00f3nlistina \u00ed hverjum hring b\u00e6\u00f0i r\u00e9tts\u00e6lis og rangs\u00e6lis, samt\u00edmis, sem \u00fe\u00e1 tv\u00f6falda\u00f0i fj\u00f3rar raddir \u00ed \u00e1tta. \u00deessi a\u00f0fer\u00f0 og framsetning sn\u00fdr einnig upp \u00e1 l\u00ednulegan skilning \u00e1 t\u00edmanum: Kristur er \u00fe\u00e1 s\u00fdndur sem upphaf (alpha) og endir (omega).<\/p>\n

T\u00f3nlist krossins sj\u00e1lfs, me\u00f0 \u00e1letrunum \u00e1 \u00f6rmum s\u00ednum, hvetur til \u00edhugunar um \u00fej\u00e1ningar Krists og myndar tvo aftur-\u00e1-bak kan\u00f3na. T\u00f3nlistin yfir krossinum er tengd vi\u00f0 s\u00e1lmabroti\u00f0 „Iusticia et Pax osculatae sunt“ (r\u00e9ttl\u00e6ti og fri\u00f0ur hafa kysst hvort anna\u00f0), sem t\u00e1knar s\u00e1tt milli himins og jar\u00f0ar sem n\u00e6st me\u00f0 f\u00f3rn Krists. \u00deetta er enn frekar undirstrika\u00f0 me\u00f0 vi\u00f0b\u00f3tar\u00e1letrunum „Veritas de terra orta est“ (sannleikurinn sprettur upp \u00far j\u00f6r\u00f0u) og „Iusticia de Caelo prospexit“ (r\u00e9ttl\u00e6ti l\u00edtur ni\u00f0ur fr\u00e1 himni), sem eru sta\u00f0sett \u00ed t\u00f3nlistinni \u00e1 \u00feann h\u00e1tt a\u00f0 \u00fea\u00f0 skapar enn einn lagskiptan kan\u00f3n.[4]<\/a> \u00deessar t\u00e1knmyndir n\u00fdta s\u00e9r \u00fev\u00ed hringformi\u00f0 og krossformi\u00f0 \u00e1 \u00fdmsan t\u00e1knr\u00e6nan h\u00e1tt.<\/p>\n

Efst \u00e1 s\u00ed\u00f0unni, b\u00e1\u00f0um megin vi\u00f0 titil krossins er \u00e1letrunin „Iesus Nazarenus Rex Iudaeorum“ (Jes\u00fas fr\u00e1 Nasaret, konungur gy\u00f0inga), sem og enn ein r\u00e1\u00f0g\u00e1tan me\u00f0 fyrirm\u00e6lunum „Clama ne cesses“ (\u00e6ptu \u00e1n afl\u00e1ts), sem gefur til kynna a\u00f0 textann \u00e6tti a\u00f0 syngja \u00e1n afl\u00e1ts e\u00f0a st\u00f6\u00f0ugt. \u00deetta b\u00e6tir vi\u00f0 enn einni v\u00edddinni vi\u00f0 lausn g\u00e1tunnar (og inni \u00ed lj\u00f3sinu, s\u00e6ti gu\u00f0s, er rita\u00f0 \u201eCanon\u201c).<\/p>\n

Til a\u00f0 leysa \u00feessa g\u00e1tut\u00f3nlist Gumpelzhaimers \u00feurftu flytjendur \u00fev\u00ed a\u00f0 takast \u00e1 vi\u00f0 \u00feessi m\u00f6rgu l\u00f6g af sj\u00f3nr\u00e6num t\u00e1knum, texta- og t\u00f3nlistart\u00e1knum, og sameina skilning sinn \u00e1 tr\u00faarlegu samhengi vi\u00f0 h\u00e6fni s\u00edna til a\u00f0 t\u00falka og flytja fl\u00f3kna fj\u00f6lradda t\u00f3nlist. H\u00e9r er ekkert raddskr\u00e1arhnitakerfi sem gefur sk\u00fdrt til kynna hva\u00f0a n\u00f3ta m\u00e6tir hva\u00f0a n\u00f3tu hverju sinni.<\/p>\n

Anna\u00f0 d\u00e6mi um \u00feessa r\u00edku hef\u00f0 innan endurreisnarinnar er verk eftir nafnlausan h\u00f6fund (Anon) sem nefnist Miraris mundum<\/em>. \u00deetta sex radda verk, prenta\u00f0 \u00ed Prag \u00e1ri\u00f0 1589 af Georgius Nigrinus, er ekki a\u00f0eins einstakt t\u00f3nverk heldur einnig vitsmunaleg og myndr\u00e6n \u00feraut sem endurspeglar dj\u00fapa menningarlega og heimspekilega \u00feekkingu t\u00edmabilsins\u200b\u200b.<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Mynd 2:<\/strong> Mi\u00f0jubrot \u00far Miraris mundum<\/em> (1589), eftir Anon.<\/h5>\n

Framsetning verksins \u00fej\u00f3nar \u00feannig tv\u00f6f\u00f6ldum tilgangi; annars vegar sem t\u00f3nverk sem krefst t\u00falkunar og skilnings, og hins vegar sem vitsmunaleg og t\u00e1knr\u00e6n \u00feraut sem hvetur til \u00edhugunar um d\u00fdpri merkingarl\u00f6g. Hugmyndin um a\u00f0 leysa g\u00e1tuna er sem fyrr segir tengd vi\u00f0 upplj\u00f3mun sem teflir saman \u00feessum tveimur markmi\u00f0um; a\u00f0 finna lausnina veitir ekki a\u00f0eins skilning \u00e1 hvernig ber a\u00f0 flytja t\u00f3nlistina heldur einnig inns\u00fdn \u00ed fl\u00f3knar menningarlegar og heimspekilegar hugmyndir sem b\u00faa a\u00f0 baki.<\/p>\n

Verki\u00f0, sem geymt er \u00ed klaustursb\u00f3kasafni Strahov \u00ed Prag, b\u00fd\u00f0ur upp \u00e1 r\u00edkt samspil t\u00f3nlistar, myndlistar og texta (og heims\u00fdnar). Fj\u00f3urm r\u00f6ddum er stillt upp \u00ed t\u00f6flu (e\u00f0a bor\u00f0b\u00f3karformi) inn \u00ed skrautlegum ramma, tv\u00e6r og tv\u00e6r andsp\u00e6nis hvor annarri, og flytja dularfullan texta: \u201eMiraris mundum dorso consistere cancri? Desine sic hodie vertitur orbis iter\u201c (\u201eErtu hissa \u00e1 a\u00f0 sj\u00e1 heiminn \u00e1 bakinu \u00e1 krabba? H\u00e6ttu \u00fev\u00ed; \u00feannig er heimurinn \u00ed dag.\u201c)\u200b\u200b.<\/p>\n

Mi\u00f0ja skorsins s\u00fdnir oddveifu (e. banderole) me\u00f0 sama texta, en \u00fear fylgir mynd af krabba (humar[5]<\/a>) sem ber hn\u00f6tt \u00e1 bakinu (sj\u00e1 mynd 2). \u00deessi hn\u00f6ttur inniheldur landslag, mann \u00e1 b\u00e1t, \u00fatl\u00ednur b\u00e6jar og stj\u00f6rnu\u00feak me\u00f0 minnkandi tungli. \u00c1 krabbanum er stutt, fimm n\u00f3tna palindr\u00f3m\u00edskt mynstur (g-a-b-a-g) me\u00f0 or\u00f0unum „Cancer cancrisat“ („Krabbinn gengur aftur \u00e1 bak“) prenta\u00f0 spegil-\u00f6fugt undir \u00fev\u00ed (\u00fe.e. me\u00f0 spegilskrift[6]<\/a>) og s\u00f6mulei\u00f0is er fari\u00f0 me\u00f0 textann sem er undir n\u00f3tunum \u00ed kringl\u00f3tta n\u00f3tnastrengnum sem umvefur krabbann. N\u00f3tnaleg uppsetning innan krabbans er palindr\u00f3m\u00edsk sem fyrr segir me\u00f0 c-lykla og 2.5 semibreves \u00fe\u00f6gnum \u00e1 hvorum enda, sem myndar stuttan \u201esoggetto ostinato\u201c sem h\u00e6gt er a\u00f0 lesa \u00ed b\u00e1\u00f0ar \u00e1ttir\u200b\u200b. Flytjendur \u00feurftu \u00fev\u00ed a\u00f0 leysa \u00fe\u00e1 \u00feraut a\u00f0 finna hvernig m\u00e6tti sn\u00faa r\u00f6ddum vi\u00f0, e\u00f0a lesa \u00fe\u00e6r aftur \u00e1 bak, og l\u00e1ta \u00fdmis \u00fer\u00e1stef af \u00fdmsum lengdum (sum eru 2.5 semibreves, \u00f6nnur 2 e\u00f0a 3.5)[7]<\/a> passa inn \u00ed heildina; heild sem vefur \u00feremur textum saman vi\u00f0 fj\u00f3rar frj\u00e1lsar raddir og tv\u00e6r \u00fer\u00e1stefsraddir.<\/p>\n

\u00c1hugavert er hvernig \u00feetta verk tengir t\u00f3nlist vi\u00f0 v\u00ed\u00f0ara t\u00e1knr\u00e6nt samhengi, sem s\u00fdnir krabbann (e\u00f0a humarinn), bera hn\u00f6ttinn, sem t\u00e1knmynd fyrir afturf\u00f6r heimsins, \u00ed samr\u00e6mi vi\u00f0 \u00fe\u00e1 sko\u00f0un a\u00f0 heimurinn v\u00e6ri \u00ed hnignun. Hugmyndin var einnig tengd vi\u00f0 t\u00e1knmyndahef\u00f0ir \u00feess t\u00edma, \u00fear sem tv\u00edyr\u00f0ingurinn (e. distich) „Miraris mundum…“ var \u00feekkt \u00ed samhengi merkjab\u00f3ka (e. emblem books), t.d. kynnti h\u00famanistinn Joachim Camerarius \u00feessi vers \u00ed handriti s\u00ednu Symbola et emblemata<\/em> (1587), \u00fear sem bakgangur krabbans \u2013 \u00e1 \u00feessum t\u00edmum var almennt tali\u00f0 a\u00f0 krabbar gengi aftur \u00e1 bak \u2013 t\u00e1knar einmitt afturf\u00f6r heimsins, heim sem er \u00f6rv\u00e6ntingarfullur og missir sj\u00f3nar \u00e1 markmi\u00f0i s\u00ednu\u200b\u200b\u200b\u200b.[8]<\/a><\/p>\n

\u00cd gegnum \u00feetta fl\u00f3kna samspil t\u00f3nlistar, texta og myndlistar, endurspeglar Miraris mundum<\/em> \u00fe\u00e1 dj\u00fapu leit a\u00f0 \u00feekkingu og skilningi sem einkenndi menningarlegt landslag endurreisnarinnar. Verki\u00f0 er ekki a\u00f0eins t\u00f3nlistarleg samsetning radda, heldur einnig vitsmunaleg og t\u00e1knr\u00e6n \u00feraut sem b\u00fd\u00f0ur upp \u00e1 dj\u00fapa \u00edgrundun um e\u00f0li heimsins og mannlega tilvist.<\/p>\n

Af hverju torr\u00e6\u00f0ni?<\/strong><\/p>\n

En af hverju a\u00f0 vera b\u00faa til \u00feennan \u00fer\u00f6skuld, \u00feetta vi\u00f0n\u00e1m, \u00feessa fl\u00e6kju e\u00f0a \u00feessa torr\u00e6\u00f0ni? \u00cd lj\u00f3si menningarlegs og vitsmunalegs landslags endurreisnart\u00edmabilsins skapar \u00feessi spurning grundv\u00f6ll fyrir dj\u00fapa sko\u00f0un \u00e1 notkun torr\u00e6\u00f0ni innan t\u00f3nlistar. H\u00e6gt er a\u00f0 fara \u00e1 kaf \u00ed s\u00f6gulegt samhengi og fr\u00e6\u00f0ilega greiningu \u00e1 torr\u00e6\u00f0ni \u00ed verkum endurreisnart\u00f3nlistar en h\u00e9r munum vi\u00f0 a\u00f0eins sko\u00f0a viss sj\u00f3narhorn \u00feessa fl\u00f3kna \u00fe\u00e1ttar \u00ed listr\u00e6nni sk\u00f6pun.<\/p>\n

T\u00f3nsk\u00e1ld endurreisnarinnar n\u00fdttu s\u00e9r torr\u00e6\u00f0ni til a\u00f0 \u00feroska vitsmunalega getu flytjenda og \u00e1heyrenda. Torr\u00e6\u00f0ni \u00ed t\u00f3nlist krefst \u00feess a\u00f0 flytjandinn\/hlustandinn[9]<\/a> grafi\/kafi d\u00fdpra, leiti a\u00f0 f\u00f6ldum merkingum og tengi saman \u00f3l\u00edka \u00fe\u00e6tti verksins til a\u00f0 skilja \u00fea\u00f0 til fulls. \u00deessi n\u00e1lgun \u00e1 t\u00f3nlist birtist ekki a\u00f0eins \u00ed fl\u00f3knum t\u00f3nsm\u00ed\u00f0um heldur einnig \u00ed textum og graf\u00edskri framsetningu, sem kraf\u00f0ist \u00feess a\u00f0 flytjendur v\u00e6ru virkir \u00fe\u00e1tttakendur \u00ed sk\u00f6punarferlinu, \u00ed sta\u00f0 \u00feess a\u00f0 vera einungis vi\u00f0takendur e\u00f0a mi\u00f0larar. A\u00f0 m\u00f6rgu leyti l\u00e9t \u00feessi hugmyndafr\u00e6\u00f0i aftur \u00e1 s\u00e9r kr\u00e6la \u00e1 20. \u00f6ldinni \u00ed gegnum tilraunat\u00f3nlistina sem einnig setti flytjendur \u00ed n\u00fdjar t\u00falkunarstellingar og hvatti \u00fe\u00e1 til a\u00f0 p\u00fasla saman verkum upp \u00e1 eigin sp\u00fdtur (\u00fe\u00f3 me\u00f0 \u00f6\u00f0rum formerkjum og annarri hugmyndafr\u00e6\u00f0i).<\/p>\n

Torr\u00e6\u00f0ni sem listr\u00e6nt t\u00e6ki<\/strong><\/p>\n

Torr\u00e6\u00f0ni var ekki a\u00f0eins notu\u00f0 til a\u00f0 fl\u00e6kja skilning \u00e1 t\u00f3nlist, heldur einnig sem listr\u00e6nt t\u00e6ki til a\u00f0 tj\u00e1 tilfinningar, hugmyndir og jafnvel p\u00f3lit\u00edskar sko\u00f0anir. \u00cd gegnum torr\u00e6\u00f0ni g\u00e1tu t\u00f3nsk\u00e1ldin komi\u00f0 \u00e1 framf\u00e6ri vi\u00f0kv\u00e6mum e\u00f0a gagnr\u00fdnum hugmyndum \u00e1 h\u00e1tt sem var b\u00e6\u00f0i skapandi og falinn fyrir \u00f3\u00e6skilegri athygli. \u00deetta var s\u00e9rstaklega mikilv\u00e6gt \u00e1 t\u00edmum \u00fear sem list og einhvers konar gagnr\u00fdni \u2013 \u00fe\u00f3tt allt annar skilningur var settur \u00ed \u00feessi hugt\u00f6k \u00e1 \u00feeim t\u00edma \u2013 gat veri\u00f0 takm\u00f6rku\u00f0 af ytri \u00fe\u00e1ttum eins og kirkjuvaldi e\u00f0a stj\u00f3rnv\u00f6ldum.[10]<\/a><\/p>\n

Torr\u00e6\u00f0ni \u00ed t\u00f3nlist endurreisnarinnar endurspeglar einnig \u00fea\u00f0 menningarbundna samhengi sem verkin voru sk\u00f6pu\u00f0 \u00ed. \u00c1 \u00feeim t\u00edma var mikil \u00e1hersla l\u00f6g\u00f0 \u00e1 menntun, vitsmuni (e. intellect) og fl\u00f3kna heimspekilega umr\u00e6\u00f0u. T\u00f3nlist sem f\u00f3l \u00ed s\u00e9r torr\u00e6\u00f0ni var lei\u00f0 fyrir listamenn til a\u00f0 tengjast \u00feessum umr\u00e6\u00f0um og s\u00fdna sitt framlag til menningarlegs og vitsmunalegs au\u00f0s samf\u00e9lagsins. \u00deannig var\u00f0 torr\u00e6\u00f0ni ekki a\u00f0eins t\u00e6ki til listr\u00e6nnar tj\u00e1ningar, heldur tengdi einnig t\u00f3nlist vi\u00f0 st\u00e6rri v\u00edsindalega, heimspekilega og menningarlega strauma samt\u00edmans (og ekki m\u00e1 gleyma a\u00f0 t\u00f3nlist haf\u00f0i \u00fe\u00e1 veri\u00f0 mikilv\u00e6gur hluti af l\u00e6rd\u00f3msskipulaginu og ein lei\u00f0 a\u00f0 \u00feekkingu heimsins (sbr. quadrivium<\/em>)).<\/p>\n

Torr\u00e6\u00f0ni \u00ed t\u00f3nlist endurreisnarinnar er \u00fev\u00ed mikilv\u00e6gur \u00fe\u00e1ttur sem s\u00fdnir hvernig \u00e1kve\u00f0nir listamenn \u00feess t\u00edma n\u00fdttu s\u00e9r alla \u00fe\u00e6tti listarinnar \u2013 fr\u00e1 t\u00f3nsm\u00ed\u00f0um og textum til framsetningar og flutnings \u2013 til a\u00f0 \u00f6gra, fr\u00e6\u00f0a og \u00fer\u00f3a flytjendur, \u00e1heyrendur og samf\u00e9lagi\u00f0. \u00cd gegnum \u00feetta sj\u00f3narhorn \u00e1 torr\u00e6\u00f0ni opnast n\u00fd lei\u00f0 til a\u00f0 skilja og meta t\u00f3nlist endurreisnarinnar, ekki a\u00f0eins sem listaverk heldur einnig sem glugga inn \u00ed vitsmunalegt og menningarlegt landslag \u00feess t\u00edma. Greining \u00e1 notkun torr\u00e6\u00f0ni veitir \u00fev\u00ed d\u00fdrm\u00e6ta inns\u00fdn \u00ed hvernig t\u00f3nlist getur veri\u00f0 mi\u00f0ill fyrir fl\u00f3knar hugmyndir og samr\u00e6\u00f0ur, og hvernig h\u00fan endurspeglar \u00fe\u00e1 \u00fe\u00e6tti samf\u00e9lagsins sem h\u00fan sprettur \u00far.[11]<\/a><\/p>\n

Hlutverk N\u00f3tnaritunar<\/strong><\/p>\n

\u00c1 endurreisnart\u00edmanum var n\u00f3tnaritun ekki a\u00f0eins t\u00e6knilegt t\u00f3l til a\u00f0 skr\u00e1 t\u00f3nlist heldur einnig vettvangur fyrir heimspekilega og listr\u00e6na sk\u00f6pun. \u00der\u00f3un og notkun fl\u00f3kinna kvar\u00f0a yfir lengdargildi (e\u00f0a mens\u00farut\u00e1kna, e. mensuration signs), \u00e1 \u00feessum t\u00edma var ekki a\u00f0eins t\u00e6knileg nau\u00f0syn heldur einnig listr\u00e6nt og vitsmunalegt val.[12]<\/a> T\u00f3nsk\u00e1ldin n\u00fdttu s\u00e9r \u00feessa \u00fe\u00e6tti til a\u00f0 skapa verk sem voru \u00e1 sama t\u00edma b\u00e6\u00f0i falleg \u00e1 a\u00f0 l\u00edta og r\u00edk af duldum merkingum og vitsmunalegum \u00e1skorunum\u200b\u200b. Til vi\u00f0b\u00f3tar voru myndir og t\u00e1kn notu\u00f0 til a\u00f0 tengja t\u00f3nsm\u00ed\u00f0aa\u00f0fer\u00f0ir vi\u00f0 v\u00ed\u00f0t\u00e6kari hugmyndafr\u00e6\u00f0i. T\u00falkun var \u00fev\u00ed g\u00e1ta e\u00f0a \u00feraut sem var \u00ed senn greining og skilningur \u00e1 t\u00e1knum og merkingu \u00feeirra (sbr. krabbann sem t\u00e1knar afturf\u00f6r heimsins en l\u00edka hvernig setja eigi raddir saman).<\/p>\n

Eftir \u00fev\u00ed sem \u00feekking \u00e1 fl\u00f3knum mens\u00farut\u00e1knum og hlutf\u00f6llum \u00feeirra f\u00f3r dv\u00ednandi \u00ed lok sext\u00e1ndu aldar, f\u00f3ru sum t\u00f3nsk\u00e1ld a\u00f0 nota \u00feau sem v\u00edsun \u00ed leifar eldri hef\u00f0a. Notkun n\u00f3tnaritunarlistar f\u00e9kk \u00fe\u00e1 \u00e1 sig fornaldarbl\u00e6 og var eing\u00f6ngu notu\u00f0 til hei\u00f0urs, vir\u00f0ingarvotts e\u00f0a einfaldlega til a\u00f0 s\u00fdna kunn\u00e1ttu \u00ed arcana musica<\/em>\u200b\u200b. \u00deessi \u00fer\u00f3un endurspegla\u00f0i hvernig t\u00f3nlistarhef\u00f0ir \u00fer\u00f3u\u00f0ust fr\u00e1 fl\u00f3kinni og t\u00e1knr\u00e6nni n\u00e1lgun endurreisnart\u00edmabilsins yfir \u00ed meiri einfaldleika og n\u00e1lgun sem einkenndi barokkt\u00edmabili\u00f0 og s\u00ed\u00f0ari st\u00edla (\u00fe\u00f3tt vissulega s\u00e9 til sta\u00f0ar fl\u00e6kja \u00fear, en af allt \u00f6\u00f0rum toga). \u00deessi dv\u00ednandi \u00feekking \u00e1 mens\u00farut\u00e1knum og hlutf\u00f6llum leiddi til \u00feess a\u00f0 sumar af hinum fl\u00f3knari og t\u00e1knr\u00e6nni t\u00f3nsm\u00ed\u00f0ahef\u00f0um endurreisnart\u00edmans gl\u00f6tu\u00f0ust e\u00f0a ur\u00f0u \u00fareltar, \u00fear sem n\u00fdjar n\u00f3tnaritunara\u00f0fer\u00f0ir og t\u00f3nsm\u00ed\u00f0ast\u00edlar, sem l\u00f6g\u00f0u \u00e1herslu \u00e1 beinskeytta og sk\u00fdra framsetningu, t\u00f3ku vi\u00f0.<\/p>\n

Aflei\u00f0ingar og upplausn g\u00e1tumenningarinnar<\/strong><\/p>\n

\u00de\u00f3tt g\u00e1tumenning endurreisnarinnar hafi vissulega b\u00fai\u00f0 yfir heillandi samspili sk\u00f6punarg\u00e1fu og vitsmunalegrar \u00e1skorunar, voru tilteknir \u00fe\u00e6ttir sem m\u00e6tti skilgreina sem neikv\u00e6\u00f0ar aflei\u00f0ingar \u00feessarar menningar. \u00deessar a\u00f0fer\u00f0ir l\u00f6g\u00f0u mikla pressu \u00e1 flytjendur, \u00f3\u00fearflega mikla a\u00f0 margra mati, og g\u00e1tu haft \u00fatilokandi \u00e1hrif, \u00fear sem \u00feeir sem ekki n\u00e1\u00f0u a\u00f0 leysa g\u00e1tuna e\u00f0a fylgja fl\u00f3knum t\u00f3nlistarlegum lei\u00f0beiningum st\u00f3\u00f0u frammi fyrir m\u00f6gulegri ni\u00f0url\u00e6gingu e\u00f0a \u00fatsk\u00fafun.<\/p>\n

S\u00fa gagnr\u00fdni sem kemur fram \u00ed ritverki Heinrich Glareans, Dodekachordon <\/em>(1547), \u00fear sem hann talar um „ostentatio ingenii“ e\u00f0a upphafning snillig\u00e1funnar, bendir til \u00feess a\u00f0 sum t\u00f3nsk\u00e1ld \u00e1 \u00feessum t\u00edma hafi lagt of mikla \u00e1herslu \u00e1 a\u00f0 s\u00fdna fram \u00e1 t\u00e6knilega h\u00e6fileika og merkingafl\u00e6kjur frekar en a\u00f0 skapa t\u00f3nlist sem var \u00e1n\u00e6gjuleg og a\u00f0gengileg fyrir flytjendur og \u00e1heyrendur. Sl\u00edk n\u00e1lgun ger\u00f0i \u00fea\u00f0 a\u00f0 verkum a\u00f0 t\u00f3nverk sem innih\u00e9ldu fl\u00f3knar mens\u00farskan\u00f3nur me\u00f0 g\u00e1tum og \u00ferautum voru oft \u00e1 t\u00ed\u00f0um erfi\u00f0 fyrir flytjendur og g\u00e1tu valdi\u00f0 \u00f6rv\u00e6ntingu e\u00f0a \u00f3tta vi\u00f0 a\u00f0 ver\u00f0a a\u00f0 athl\u00e6gi ef \u00feeir leystu \u00fe\u00e6r ekki \u00e1 vi\u00f0unandi h\u00e1tt.[13]<\/a><\/p>\n

\u00cd Istitutioni harmoniche <\/em>(1558) eftir Gioseffo Zarlino greinir fr\u00e1 \u00fev\u00ed hvernig fl\u00f3kin verk valda ekki a\u00f0eins ringulrei\u00f0 og \u00f3\u00e1n\u00e6gju me\u00f0al s\u00f6ngvara, heldur upplif\u00f0u s\u00f6ngvararnir einnig f\u00e9lagslegan \u00fer\u00fdsting til a\u00f0 takast \u00e1 vi\u00f0 \u00feessar fl\u00e6kjur ef \u00feeir vildu ekki l\u00edta \u00fat fyrir a\u00f0 vera klaufskir e\u00f0a \u00f3fr\u00f3\u00f0ir\u200b\u200b. \u00deetta s\u00fdnir a\u00f0 flytjendur fundu fyrir \u00fe\u00f6rf til a\u00f0 leysa allar tegundir af t\u00f3nlistarfl\u00e6kjum, \u00fear sem getan til a\u00f0 afk\u00f3\u00f0a hugmyndir t\u00f3nsk\u00e1ldanna veitti \u00feeim \u00e1kve\u00f0i\u00f0 vald. \u00deessi sta\u00f0reynd var a\u00f0 mati Zarlino \u00ed sj\u00e1lfu s\u00e9r f\u00e1r\u00e1nleg, en \u00fea\u00f0 var enn verra a\u00f0 s\u00f6ngvarar \u00feyrftu a\u00f0 ey\u00f0a t\u00edma \u00ed sl\u00edkar fl\u00e6kjur yfirh\u00f6fu\u00f0.[14]<\/a> Skiptar sko\u00f0anir innan t\u00f3nlistarmenningarinnar f\u00f3ru \u00fev\u00ed a\u00f0 grafa undan \u00feessari hef\u00f0.<\/p>\n

\u00cd br\u00e9fi sem Giovanni Spataro sendi Giovanni Del Lago, tj\u00e1ir Spataro s\u00e1rindi s\u00edn yfir gagnr\u00fdni Franchino Gafurios \u00e1 sumar hans t\u00f3nsm\u00ed\u00f0ar. Spataro upplif\u00f0i a\u00f0 hann v\u00e6ri misskilinn og saka\u00f0i Gafurio um a\u00f0 vera \u00f3f\u00e6r um a\u00f0 skilja fl\u00e6kjur verka sinna. \u00deessi samskipti s\u00fdna hvernig \u00e1greiningur um fl\u00e6kjur \u00ed t\u00f3nlist gat leitt til deilna og misskilnings \u00e1 milli t\u00f3nlistarmanna\u200b\u200b.[15]<\/a><\/p>\n

\u00deessir \u00fe\u00e6ttir g\u00e1tumenningarinnar \u00e1 endurreisnart\u00edmanum undirstrika hvernig \u00e1herslan \u00e1 g\u00e1tur og vitsmunalegar \u00e1skoranir gat haft \u00fatilokandi \u00e1hrif og skapa\u00f0 pressu \u00e1 flytjendur. \u00deeir sem ekki g\u00e1tu fylgst me\u00f0 e\u00f0a leyst sl\u00edkar g\u00e1tur st\u00f3\u00f0u \u00fev\u00ed alls ekki jafnf\u00e6tis \u00f6\u00f0rum innan \u00feessarar menningar.<\/p>\n

\u00deessi s\u00fdn \u00e1 t\u00f3nlistarlega h\u00e6fileika og getu til a\u00f0 leysa g\u00e1tur f\u00f3l \u00ed s\u00e9r valdabar\u00e1ttu innan t\u00f3nlistarsamf\u00e9lagsins, \u00fear sem valdi\u00f0 var oft \u00ed h\u00f6ndum \u00feeirra sem h\u00f6f\u00f0u h\u00e6fileikann og \u00feekkinguna til a\u00f0 skilja og framkv\u00e6ma fl\u00f3knustu verkin. \u00deessi \u00e1hersla \u00e1 vitsmunalega og t\u00e6knilega fl\u00e6kju \u00ed t\u00f3nlist gat \u00fev\u00ed ekki a\u00f0eins \u00fatiloka\u00f0 e\u00f0a sett pressu \u00e1 flytjendur heldur einnig skapa\u00f0 stigveldi sem mat f\u00f3lk \u00e1 grundvelli getu \u00feeirra til a\u00f0 takast \u00e1 vi\u00f0 og skilja \u00feessar fl\u00e6kjur. \u00deannig var\u00f0 getan til a\u00f0 leysa g\u00e1tur og framkv\u00e6ma t\u00f3nlistarlegar fl\u00e6kjur, sem kalla\u00f0i einnig \u00e1 v\u00ed\u00f0t\u00e6ka \u00feekkingu og menntun, ekki a\u00f0eins m\u00e6likvar\u00f0i \u00e1 listr\u00e6na getu, heldur einnig t\u00e6ki til a\u00f0 sta\u00f0setja einstaklinga innan valdastr\u00fakt\u00farsins \u00ed t\u00f3nlistarsamf\u00e9laginu.[16]<\/a><\/p>\n

Lokaor\u00f0<\/strong><\/p>\n

\u00deessi t\u00f3nlist endurreisnarinnar sem h\u00e9r hefur veri\u00f0 snert \u00e1 var auglj\u00f3slega r\u00edk og v\u00ed\u00f0t\u00e6k \u00ed umfangi og haf\u00f0i s\u00e9rt\u00e6kt hlutverk var\u00f0andi \u00feekkingarsk\u00f6pun og skilningsvi\u00f0leitni manneskjunnar. En h\u00fan ger\u00f0i l\u00edka r\u00edkari og jafnvel \u00f3raunh\u00e6far kr\u00f6fur \u00e1 \u00fe\u00e1tttakendur t\u00f3nlistarl\u00edfsins sem kalla\u00f0i a\u00f0 lokum fram Hegel\u00edska samr\u00e6\u00f0u kynsl\u00f3\u00f0anna \u00fear sem andsta\u00f0a (e. antithesis) \u00feessara n\u00e1lgunar var sm\u00e1m saman k\u00f6llu\u00f0 fram (og kannski erum vi\u00f0 enn a\u00f0 vinna \u00ed samrunanum).<\/p>\n

Einu m\u00e6tti \u00fe\u00f3 vi\u00f0 \u00feetta b\u00e6ta var\u00f0andi torr\u00e6\u00f0ni, e\u00f0a hulda merkingu, og hugarfar t\u00edmabilsins. \u00c1 endurreisnart\u00edmabilinu var torr\u00e6\u00f0nin oft hugsu\u00f0 sem \u00e1kve\u00f0in verndun, s\u00e9rstaklega \u00ed tengslum vi\u00f0 t\u00f3nlist, listir og b\u00f3kmenntir. \u00deessi hugmyndafr\u00e6\u00f0i bygg\u00f0ist \u00e1 tr\u00fanni a\u00f0 viss \u00feekking og viska \u00e6tti ekki a\u00f0 vera a\u00f0gengileg \u00f6llum, heldur a\u00f0eins \u00feeim sem v\u00e6ru h\u00e6fir til a\u00f0 skilja og meta d\u00fdptina sem f\u00e6list \u00ed henni, a\u00f0 \u00f6\u00f0rum kosti h\u00e6ttuleg. H\u00e9r var \u00fev\u00ed veri\u00f0 a\u00f0 vernda \u00fe\u00e1 sem ekki voru tilb\u00fanir, \u00fev\u00ed annars var tali\u00f0 a\u00f0 verkefni\u00f0 yr\u00f0i yfir\u00feyrmandi og f\u00f3lk myndi villast af lei\u00f0 \u00feekkingar og upplj\u00f3munar. \u00deetta \u00e1tti s\u00e9rstaklega vi\u00f0 um tr\u00faarleg og heimspekileg m\u00e1lefni, \u00fear sem bein og auglj\u00f3s tj\u00e1ning \u00e1 \u00feessum efnum var oft talin of dj\u00f6rf e\u00f0a jafnvel gu\u00f0last.[17]<\/a><\/p>\n

\u00cd Crux Christi<\/em> eftir Gumpelzhaimer (mynd 2, a\u00f0 ofan) m\u00e1 sj\u00e1 d\u00e6mi um hvernig torr\u00e6\u00f0nin var hugsu\u00f0 sem verndun. T\u00f3nlistarg\u00e1tan krefst \u00feess ekki a\u00f0eins a\u00f0 flytjendur s\u00e9u t\u00e6knilega h\u00e6fir, heldur einnig a\u00f0 \u00feeir hafi d\u00fdpt og n\u00e6mi til a\u00f0 skilja fl\u00f3kna tr\u00faarlega og t\u00e1knr\u00e6na merkingu sem felst \u00ed verkinu. Me\u00f0 \u00fev\u00ed a\u00f0 fela merkinguna \u00e1 bak vi\u00f0 torr\u00e6\u00f0na framsetningu skapar Gumpelzhaimer form af verndun sem var\u00f0veitir helgid\u00f3m t\u00f3nlistarinnar og \u00feekkingarinnar fyrir \u00fe\u00e1 sem eru rei\u00f0ub\u00fanir a\u00f0 leggja \u00e1 sig erfi\u00f0i\u00f0 vi\u00f0 a\u00f0 leysa g\u00e1tuna og skilja d\u00fdpri merkingu hennar. Torr\u00e6\u00f0nin f\u00e9kk \u00fev\u00ed \u00fea\u00f0 hlutverk a\u00f0 vernda b\u00e6\u00f0i \u00fe\u00e1 sem voru ekki tilb\u00fanir og t\u00f3nlistina sj\u00e1lfa, og hennar andlega innihald, fr\u00e1 yfirbor\u00f0slegri skynjun og skilningi, og trygg\u00f0i a\u00f0 a\u00f0eins \u00feeir sem voru sannarlega h\u00e6fir, tilb\u00fanir og v\u00edg\u00f0ir g\u00e1tu n\u00e1lgast hinar d\u00fdpri, huldu merkingar. \u00cd \u00feessu samhengi var torr\u00e6\u00f0ni ekki bara t\u00e6knilegt e\u00f0a listr\u00e6nt verkf\u00e6ri, heldur einnig andlegur og si\u00f0fer\u00f0islegur varnarvi\u00f0b\u00fana\u00f0ur, sem vernda\u00f0i heilagleika og dj\u00fapa merkingu listaverksins.[18]<\/a><\/p>\n

\n

 <\/p>\n

[1]<\/a> Schiltz, Katelijne. Music and Riddle Culture in the Renaissance<\/em> (Cambridge: Cambridge University Press, 2015), 123-125.<\/p>\n

[2]<\/a> Ibid.<\/p>\n

[3]<\/a> Gl\u00f6ggir lesendur \u00e1tta sig e.t.v. \u00e1 a\u00f0 skori\u00f0 inniheldur \u00ed raun tv\u00f6 verk, Crux Christi: Cum Titulo sem er sex radda canon og Crux Christi: Quatuor Envangelist\u00e6 sem er \u00e1tta radda canon.<\/p>\n

[4]<\/a> Schiltz, Katelijne. Music and Riddle Culture in the Renaissance<\/em> (Cambridge: Cambridge University Press, 2015), 319-324.<\/p>\n

[5]<\/a> Eiginlega er um humar a\u00f0 r\u00e6\u00f0a en \u00e1vallt er tala\u00f0 um krabba (cancer, crab).<\/p>\n

[6]<\/a> \u00dear sem skori\u00f0 er sett upp \u00ed svok\u00f6llu\u00f0u bor\u00f0b\u00f3karformi (e. table book format) hafa flytjendur eflaust flutt verki\u00f0 sitjandi vi\u00f0 ferkanta\u00f0 bor\u00f0 og e.t.v. nota\u00f0 spegils\u00edvalning sta\u00f0settan \u00e1 hn\u00f6tt\/hring heimsins sem situr \u00e1 baki krabbans. Sl\u00edk uppsetning myndi \u00fev\u00ed mynda n\u00fdtt \u201efali\u00f0\u201c t\u00e1kn: t\u00f3nlist sem endurspeglar \u00e1stand\/e\u00f0li heimsins e\u00f0a \u00f6fugt. \u00deessi tilg\u00e1ta m\u00edn er \u00fe\u00f3 me\u00f0 \u00f6llu \u00f3sta\u00f0fest en \u00feekkt er a\u00f0 spegils\u00edvalningar voru nota\u00f0ir innan myndlistar \u00ed svokalla\u00f0ri \u201aanamorphosis\u2018 list og \u00fev\u00ed eflaust \u00feekktir v\u00ed\u00f0ar \u00ed afkimum vitsmunalistah\u00f3pa.<\/p>\n

[7]<\/a> \u00cd \u00feessari n\u00f3tnaskrift eru semibreve jafngilt heiln\u00f3tum \u00ed n\u00fat\u00edman\u00f3tnaskrift.<\/p>\n

[8]<\/a> Schiltz, Katelijne. Music and Riddle Culture in the Renaissance<\/em> (Cambridge: Cambridge University Press, 2015), 293-295.<\/p>\n

[9]<\/a> \u00deess m\u00e1 geta a\u00f0 \u00e1 \u00feessum t\u00edma er a\u00f0greining flytjanda og hlustanda ekki or\u00f0in eins sk\u00fdr og s\u00ed\u00f0ar var\u00f0.<\/p>\n

[10]<\/a> Schiltz, Katelijne. Music and Riddle Culture in the Renaissance<\/em> (Cambridge: Cambridge University Press, 2015), 250-251.<\/p>\n

[11]<\/a> Ibid.<\/p>\n

[12]<\/a> Mens\u00farut\u00e1kn og hlutf\u00f6ll \u00ed t\u00f3nlist endurreisnart\u00edmans voru fr\u00e1brug\u00f0in n\u00fat\u00edma n\u00f3tnaskrift. Mens\u00farumerki voru notu\u00f0 til a\u00f0 t\u00e1kna lengdir t\u00f3na \u00ed t\u00f3nlistinni og voru grunnurinn a\u00f0 \u00fev\u00ed sem vi\u00f0 \u00feekkjum \u00ed dag sem n\u00f3tnagildi. Hins vegar var kerfi\u00f0 \u00ed raun mun fl\u00f3knara en n\u00f3tnaskriftin sem t\u00f3k vi\u00f0, me\u00f0 fj\u00f6lda merkja og lita sem hver um sig t\u00e1kna\u00f0i mismunandi lengdir og hra\u00f0a (n\u00f3tur g\u00e1tu svo veri\u00f0 \u00ed fullkomnum takti e\u00f0a \u00f3fullkomnum, tv\u00edskipt e\u00f0a \u00fer\u00edskipt e\u00f0a bl\u00f6ndu af \u00fev\u00ed). \u00deessi kerfi, sem voru grundvallaratri\u00f0i \u00ed mensural-n\u00f3tnaskrift, kr\u00f6f\u00f0ust s\u00e9rt\u00e6ks skilnings \u00e1 fl\u00f3knum reglum um rytma og taktform. Hlutfallaleikurinn b\u00e6tti vi\u00f0 enn frekari fl\u00e6kjustigi, \u00fear sem s\u00e9rst\u00f6k t\u00e1kn voru notu\u00f0 til a\u00f0 breyta grundvallarhlutf\u00f6llum \u00e1 milli t\u00f3nlengda \u00ed tilteknum hlutum verksins. \u00deessi hlutfallat\u00e1kn breyttu grundvallarhrynjandi verksins \u00e1 \u00e1kve\u00f0inn og oft fl\u00f3kinn h\u00e1tt, sem kraf\u00f0ist \u00edtarlegrar \u00feekkingar og n\u00e1kv\u00e6mni vi\u00f0 flutning. \u00deetta f\u00f3r oft yfir \u00ed miklar \u00f6fgar, t.d. innan h\u00f3ps sem hefur veri\u00f0 kalla\u00f0ur ars subtilior<\/em>. Sj\u00e1 n\u00e1nar E. A. Melson, \u2018Compositional Strategies in Mensuration and Proportion Canons, ca. 1400 to ca. 1600\u2019, (MA thesis, McGill University, 2008).<\/p>\n

[13]<\/a> Glareans, Heinrich. Dodekachordon<\/em> (Basel, 1547), og \u00ed \u00fe\u00fd\u00f0ingu Clement A. Miller (American Institute of Musicology, 1965).<\/p>\n

[14]<\/a> Zarlino, Gioseffo. Istitutioni harmoniche (1558)<\/p>\n

[15]<\/a> Schiltz, Katelijne. Music and Riddle Culture in the Renaissance<\/em> (Cambridge: Cambridge University Press, 2015), 86.<\/p>\n

[16]<\/a> Schiltz, Katelijne. Music and Riddle Culture in the Renaissance<\/em> (Cambridge: Cambridge University Press, 2015)<\/p>\n

[17]<\/a> Ziolkowski, Jan M. „Theories of Obscurity in the Latin Middle Ages.“ Mediaevalia 19: 101-107 (1993)<\/p>\n

[18]<\/a> Schiltz, Katelijne. Music and Riddle Culture in the Renaissance<\/em> (Cambridge: Cambridge University Press, 2015), 320.<\/p>\n\t\t\t\t\t\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":10,"featured_media":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"wds_primary_threads_cat":0,"footnotes":""},"threads_cat":[201],"class_list":["post-12135","threads","type-threads","status-publish","hentry","threads_cat-thraedir-tolublad-9"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads\/12135","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads"}],"about":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/types\/threads"}],"author":[{"embeddable":true,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/comments?post=12135"}],"version-history":[{"count":6,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads\/12135\/revisions"}],"predecessor-version":[{"id":24815,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads\/12135\/revisions\/24815"}],"wp:attachment":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/media?parent=12135"}],"wp:term":[{"taxonomy":"threads_cat","embeddable":true,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads_cat?post=12135"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}