Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- an_indiv:1044 [2024/07/05 06:24] – xaverkainzbauer
+++ an_indiv:1044 [2024/11/24 12:45] (aktuell) – xaverkainzbauer
@@ Zeile 9: / Zeile 9: @@
 {%syn:title:ant:1044%}
-[[ant:1044|↖️]]
+[[1042]] ⟽ **[[cento_an:1typ|AN 1]]** ⟾ [[1046]]
+[[ant:1044|⏹️]] [[rp_hmr:1044|🔄]]
+-------
 {{ :ant:1044_comm.png?300|}}
 **[[cento_an:1inc_5pes#1|1INC 5Pes]]** <fc #4682b4>"posu**é**runt"</fc>,
@@ Zeile 32: / Zeile 35: @@
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+{{ :ant:1044_comm.png?300|}}
+**[[cento_an:1inc_5pes#1|1INC 5Pes]]** <fc #4682b4>"posu**é**runt"</fc>,
+**[[formulae:circulatio+]]** \\
+**[[cento_an:1med_triv#2acc\1a|1MED triv]]** 2acc ad "re": [[formulae:colon]].\\
+**[[cento_an:1inc_ad4#4|1INC ad4]]** + [[formulae:rever|FML reverentia]]\\
+**[[cento_an:1ter_de3#4|1TER de3]]**\\
+<fc #4682b4>"iesús názarenus"</fc> The torculus resupinus (better: porrectus urgens) is only consistent. "iesús" is so important in this context that it cannot be allowed to wither away before the recitation level "sol" on the "fa". It therefore jumps up to the "sol", takes the structural tone "fa" with it afterwards and ends on "sol". This allows the additional accent "názarenus" (on "la") and balances the first two words of the heading on the cross well against each other: //Jesus - from Nazareth//. The end of the cento forms an nkPes subpunctis, which indicates weightiness of meaning.
+A very common ending. Der// König - der Juden// is truly not a grand composition.
+The 'sursum' is to be read as a melodic indication at the cento transition, but also as an emotional request for an nkPes "mi-fa". Similarly, the kPes "réx **íu**-de-órum" is little additional emphasis; the celeriter on the clivis forbids any pathos. One can hear the cynicism of the inscription on the cross in this setting.
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 {%syn:analyse:ant:1044%}