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dc.contributor.authorGutiérrez Cajaraville, Carlos 
dc.date.accessioned2020-03-12T12:11:58Z
dc.date.available2020-03-12T12:11:58Z
dc.date.issued2018
dc.identifier.citationEncyclopedia of Renaissance Philosophy, Springer International Publishing AG.es
dc.identifier.urihttp://uvadoc.uva.es/handle/10324/40619
dc.description.abstractSound, basically characterized as air in motion since ancient Greece, has been at the core of the theories of many philosophers, as well as musicians, poets, scientists, and theologians. Under the auspices of Hellenic thought, Renaissance scholars tried to define what sound is, unveiling its vibrating forces to understand its ability to shake the human body and soul. In such a way, the ever-present metaphors of harmony were much more than mere imagined, unreal thoughts: through them, Renaissance humanists shaped, organized, and understood the structure and passions of the world itself.es
dc.format.mimetypeapplication/pdfes
dc.language.isospaes
dc.publisherM. Sgarbi (ed.), Encyclopedia of Renaissance Philosophy, Springer International Publishing AG, part of Springer Nature 2018.es
dc.rights.accessRightsinfo:eu-repo/semantics/openAccesses
dc.rights.urihttp://creativecommons.org/publicdomain/zero/1.0/*
dc.titleSoundes
dc.typeinfo:eu-repo/semantics/articlees
dc.identifier.doihttps://doi.org/10.1007/978-3-319-02848-4_973-1es
dc.identifier.publicationtitleSoundes
dc.peerreviewedSIes
dc.description.projectEste trabajo forma parte del proyecto de investigación “La obra musical renacentista: fundamentos, repertorios y prácticas” HAR 2015-70181-P (MINECO/FEDER, UE)es
dc.rightsCC0 1.0 Universal*
dc.type.hasVersioninfo:eu-repo/semantics/draftes


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