Article ID: CBB879935115

Saturne et la polyphonie. L’humeur noire de la musique au XVIème siècle (2020)

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The aim this paper is to describe the forms of expression of melancholy in the polyphony of the XVIth century. The best way to achieve this end is to draw from the ‘elementary’ conception of harmony proposed by Ficino, as a concordance of discordant (crasis) opposites that parallels the crasis of the humors in the body. In a well-known passage from De Vita III, 21, he quantified the krasis of the melancholic complexion using a dualistic model known in musical mathematics as the principle of variety and dissonance. Thanks to the same model, Renaissance theorists could attribute the protean dynamics of the black humor to musical harmony to such an extent to encourage constant and easily traceable rhetorical expressions in the musical repertoire of Renaissance and Early Baroque music.

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Authors & Contributors
Katinis, Teodoro
Granada, Miguel A.
Becker, Alexander
Zambelli, Paola
Barker, Andrew D.
Berns, Jörg Jochen
Journals
Bruniana & Campanelliana: Ricerche Filosofiche e Materiali Storico-testuali
Revue d'Histoire des Sciences
Isis: International Review Devoted to the History of Science and Its Cultural Influences
Journal of the History of Ideas
Circumscribere: International Journal for the History of Science
Micrologus: Nature, Sciences and Medieval Societies
Publishers
Brill
Cambridge University Press
Edizioni di Storia e Letteratura
Routledge
Pavia University Press
Concepts
Philosophy
Music
Harmony (music theory)
Mathematics
Musical instruments
Cosmology
People
Ficino, Marsilio
Paracelsus, Theophrast von Hohenheim
Ptolemy, Claudius
Savonarola, Girolamo
Pic de la Mirandole, Jean-François
Della Porta, Giovan Battista
Places
Italy
Europe
Greece
France
Times
Renaissance
16th century
15th century
Ancient
Medieval
Early modern
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