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Curious and Modern InventionsInstrumental Music as Discovery in Galileo's Italy$
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Rebecca Cypess

Print publication date: 2016

Print ISBN-13: 9780226319445

Published to Chicago Scholarship Online: September 2016

DOI: 10.7208/chicago/9780226319582.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 15 November 2019

The Paradox of Instrumentality

The Paradox of Instrumentality

The Material and the Ephemeral in Early Modern Instrumental Music

Chapter:
(p.13) Chapter 1 The Paradox of Instrumentality
Source:
Curious and Modern Inventions
Author(s):

Rebecca Cypess

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226319582.003.0002

Earlier understandings of instrumental music as an imitation of vocal music were complicated in the seventeenth century by a new aesthetic, which embraced artifice as much as the “natural.” Seicento theorists such as Giambattista Marino and Galileo Galilei inverted the hierarchy of vocal and instrumental music, arguing that instrumental music was more effective at arousing the affetti (emotions) of the listener. The stile moderno instrumental music of early seventeenth-century Italy explored an essential opposition between the material nature of instruments and the ephemerality of the emotions that they sought to represent and elicit. It was in consideration of this paradox that artists and artisans could arouse the sense of wonder so essential to the early modern aesthetic experience.

Keywords:   instruments, instrumentality, instrumental music, Stile moderno, Giambattista Marino, Galileo Galilei, artisan, artisanship, artifice, habitus

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