Article ID: CBB460189943

La reinvenzione della musica antica nel Rinascimento (2019)

unapi

The main expression of humanism in 16th-century music was the idea that acting on the affections meant to translate the words in sounding images, in order to bring them «before the eyes of imagination» of the listener. Oddly, few musicologists explained clearly the reasons underlying the cultural background of such techniques. One of them was a precise doctrine about the way in which "imaginatio" reacted to forms through the musical equivalent of rhetorical ekphrasis. Moreover, not all the sounding images were rhetorical figures. Most of the ‘episodic’ figures conceived by Franco-Flemish composers at the beginning of the century were mainly ‘symbols’, as products of Neo-Platonic metaphysics. In the last decades of the 16th century, Aristotelianism could counter the richness of Neo-Platonic symbolism only with the idea of imitation as "techne," and of the figure as a conventional sign lacking its metaphysical and magic density. Musicians still translated words into music but the golden age of symbols was over, and their word painting became a rhetoric of figures inspired by mere linguistic models.

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Authors & Contributors
Bertolini, Manuel
Bellissima, Fabio
Bizzarini, Marco
Hladký, Vojtech
Guidi, Simone
Giglioni, Guido
Journals
Bruniana & Campanelliana: Ricerche Filosofiche e Materiali Storico-testuali
Bollettino di Storia delle Scienze Matematiche
Galilæana: Journal of Galilean Studies
Arabic Sciences and Philosophy
Acta Philosophica
Publishers
Springer
Routledge
Librairie Philosophique J. Vrin
Leo S. Olschki
John Wiley & Sons
Bompiani
Concepts
Philosophy
Aristotelianism
Neoplatonism
Platonism
Music
Harmony (music theory)
People
Aristotle
Pletho, Georgios Gemistos
Plato
Ficino, Marsilio
Dietrich von Freiberg
Averroes
Time Periods
Renaissance
Medieval
16th century
17th century
Early modern
5th century
Places
Europe
Italy
Hellenistic world
Toulouse (France)
Byzantium
Spain
Institutions
Jesuits (Society of Jesus)
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