La geometría musical de las pasiones. De la consonancia armónica del universo a la disonancia placentera del cuerpo

This paper explores, on the one hand, the courtesan musical sensibility of the early modernity through considering the cosmologic renaissance principles —as the harmony of the human passions and the order of the heavenly spheres. On the other hand, it attends to the stoic-epicurean sources of the monodic recitativo as the emotional base of the early baroque dramatic performances. This research focuses on the intersection of the theoretic lines of the neo-platonic philosophy and the pragmatic necessities of the bourgeois humanism for regulating the harmonic dissonances as a way to express emotions.Therefore, the emotions of the listeners were strongly impacted by the embodied voice of the baroque monody and its poetic images. Consequently, the pleasant control of the passions is not conceived here as a stylistic broke between the last times of the Italian renaissance and the baroque ethos but as one of their historical connections.