Article ID: CBB491056769

La notion médiévale d’harmonie et ses applications artistiques (2017)


Outside of musical theory, the notion of harmony is not much more today just a vague metaphor. In the Middle Ages, its extension was even wider, but it doesn't seem to have come at the expense of its consistency. From one author to another emerge formal definition criteria which seem very stable, whatever the area of ​​application. Harmony is a property of a whole whose parties are proportionate and orderly. The multiplicity that harmony must unify is not without generating contradictions, as evidenced by the craze for paradoxical expressions of the "concordantia discordantium" type. But the paradox is resolved in the hierarchical structure which also enters into its definition: it is at the hierarchical level encompassing that what appears locally as dissonant becomes harmonious, in a sort of dialectical transcendence.

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Authors & Contributors
Bellissima, Fabio
Boccadoro, Brenno
Teske, Roland J.
Charrak, André
Barker, Andrew D.
Berchum, Marnix van
Micrologus: Nature, Sciences and Medieval Societies
Bruniana & Campanelliana: Ricerche Filosofiche e Materiali Storico-testuali
Bollettino di Storia delle Scienze Matematiche
American Catholic Philosophical Quarterly
Mefisto: Rivista di medicina, filosofia, storia
J. Vrin
Cambridge University Press
State University of New York Press
Edinburgh University Press
Yale University Press
Harmony (music theory)
Music theory
Ptolemy, Claudius
Augustine, Saint
Kepler, Johannes
Fludd, Robert
Campanella, Tommaso
Euler, Leonhard
16th century
18th century
Early modern

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