![]() This paper aims to trace the source of the medieval doctrine about the transcendental beauty in the analysis of the concept of form in Boethius, specifically the formulations presented in both texts De Trinitate and The Consolatione Philosophiae.Įl saber que embellece el alma. Franciscan thought, which in this context asume an unusual strength in the work initiated by Alexander of Hales and continued by Buenaventura, provides the medieval thought a new reflection on the basis of the transcendentals concepts: they are convertible and differ logically, and therefore, the truth is thought of as the layout of the form relative to the interior of the entities, while the beauty points out the disposition of an entity in relation to the outside. In the 13th century, when the doctrine of transcendentals concepts begins its journey in search of foundation, finds in the Summa fratris Alexandri a key in the reference of the form at the substantial principle of life, that is, the concept of Aristotelian form. ![]() Plotinus and Augustine had already declared that speciosus comes from species, form. The Middle Ages, in its reception and systematization of concepts of the classical tradition, has linked the good with the final cause and what is beautiful with the formal cause. 477-524): una fuente para la doctrina medieval de los trascendentales Keywords:īeauty, Boethius, Mediaeval thought, Transcendentals concepts. I know it might seem “crazy” what I say, but here go certain images. What do we think of art in the medieval period? Because classical Greek art is still “seen” in many works, especially from Renaissance, modern and even contemporary, but we do not find the different perspective with which the medieval has expressed itself, with that recognition - and it does not seem to interest too much “See” - although, its superposition of close and distant planes - I - dare to find them stylized? in some of Picasso’s, Kandinsky’s, Magritte’s works. Something extremely complex because, fundamentally, I consider that it cannot be defined beyond than what generates an “aesthetic” tension that drives us to say: how nice!!! How ugly!!! But this “tension” is crossed by a whole discourse that makes us distinguish the beautiful and the ugly as such. To flee from common places, it would be necessary to determine what is understood as beauty, distinguishing how this concept has been modified in relation to geographical space, periods of historical time and what the different centers of power have instituted as such. La dificultad en la distinción de belleza y de arte en algunas expresiones medievales Keywords:Īrt, Beauty, Perspective in art, Philosophical perspective, Ugliness. In both cases a greater appreciation of the melody gradually appears, seeking to produce a feeling of beauty to bring the soul (that is, the spirit) closer to the superior (religious or the beautiful human) from the materiality of sound. That in this process, long, complex and with many inflection points, two lines can be highlighted: the monastic religious song and the court music (possibly the upper troubadour). In this way the splendor formae would be a way from which to privilege the musical beauty of the melody. That in the Middle Ages, especially since the 12th century, a process of approach between the consideration of "the mathematical" and the "beautiful" begins, while two concepts of beauty are analyzed and discussed: as splendor of order and as splendor of form. Without discussing the point related to Antiquity, given that the documentation on this matter is very scarce and susceptible of diverse interpretations that cannot be verified, and focusing on the Middle Ages, an attempt will be made to provide arguments in favor of the following theses. On the other, the incorporation of music into the world of fine arts (that is, considering its sensitive and affective aspect, as “capturing the beautiful”), which would not have happened before, neither in Antiquity nor in the Middle Ages. It is also a topic to say that in the Renaissance period there are two new phenomena: the physical (and not only mathematical) consideration of the “sound number”, with the study of vibrations or acoustics, on the one hand. It is almost a topic both in the history of music and in the history of acoustic science, that in antiquity music was understood especially as the science of sound number, forming part of the quadrivium, and establishing a connection we would say natural between music understood as harmony and rhythm and mathematics and astronomy, discarding the concrete aspect of musical interpretation and its effects. ![]() La música medieval: entre ciencia del número sonoro y arte bella Keywords:Įthics of Music, Harmony, Medieval Music, Melody, Science of Sound.
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