| dc.contributor.author | Gutiérrez Cajaraville, Carlos | |
| dc.date.accessioned | 2020-03-12T12:11:58Z | |
| dc.date.available | 2020-03-12T12:11:58Z | |
| dc.date.issued | 2018 | |
| dc.identifier.citation | Encyclopedia of Renaissance Philosophy, Springer International Publishing AG. | es |
| dc.identifier.uri | http://uvadoc.uva.es/handle/10324/40619 | |
| dc.description.abstract | Sound, 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.mimetype | application/pdf | es |
| dc.language.iso | spa | es |
| dc.publisher | M. Sgarbi (ed.), Encyclopedia of Renaissance Philosophy, Springer International Publishing AG, part of Springer Nature 2018. | es |
| dc.rights.accessRights | info:eu-repo/semantics/openAccess | es |
| dc.rights.uri | http://creativecommons.org/publicdomain/zero/1.0/ | * |
| dc.title | Sound | es |
| dc.type | info:eu-repo/semantics/article | es |
| dc.identifier.doi | 10.1007/978-3-319-02848-4_973-1 | es |
| dc.identifier.publicationtitle | Sound | es |
| dc.peerreviewed | SI | es |
| dc.description.project | Este trabajo forma parte del proyecto de investigación “La obra musical renacentista: fundamentos, repertorios y prácticas” HAR 2015-70181-P (MINECO/FEDER, UE) | es |
| dc.rights | CC0 1.0 Universal | * |
| dc.type.hasVersion | info:eu-repo/semantics/draft | es |
Except where otherwise noted, this item's license is described as CC0 1.0 Universal