‘STILE ANTICO’ AND THE DISTRIBUTION OF THE AUDIBLE: SOUNDING WHAT IS ONLY THINKABLE

This paper proposes a philosophic interpretation of the breakup of stylistic unity (with its distinction between stile antico and stile moderno) of European and American Music in the 17th and 18th centuries, in terms of a “distribution of the sensible”, as proposed by Jacques Rancière. Within this f...

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Autor principal: Reccitelli, Lucas
Formato: Artículo revista
Lenguaje:Español
Publicado: Editorial de la Facultad de Artes 2020
Materias:
Stile Antico
reparto de lo sensible
Rancière
filosofía de la música
distribution of the sensible
philosophy of music
Acceso en línea:https://revistas.unc.edu.ar/index.php/avances/article/view/28743
Aporte de:
Avances de Universidad Nacional de Córdoba
id I10-R310-article-28743
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spelling I10-R310-article-287432025-04-12T18:21:50Z ‘STILE ANTICO’ AND THE DISTRIBUTION OF THE AUDIBLE: SOUNDING WHAT IS ONLY THINKABLE EL “STILE ANTICO” EN EL REPARTO DE LO AUDIBLE Y LA SONORIZACIÓN DE LO PENSABLE Reccitelli, Lucas Stile Antico reparto de lo sensible Rancière filosofía de la música Stile Antico distribution of the sensible Rancière philosophy of music This paper proposes a philosophic interpretation of the breakup of stylistic unity (with its distinction between stile antico and stile moderno) of European and American Music in the 17th and 18th centuries, in terms of a “distribution of the sensible”, as proposed by Jacques Rancière. Within this framework, we examine the place of stile antico in the definition of what is religiously legitimate. For this purpose, we put forward the existence of an “ethical regime of the arts” within this context. How can music determine the relation with the divine? Which aspects of what is considered sacred are “allowed to be seen” in stile antico and which are not? What “might be said” about the sacred in this context? How legitimate stile antico is with respect to this “permission to say”? With these questions as guides, we propose the hypothesis of stile antico as a “legitimate”, “true” sacred music, which can offer a “good” imitation of the divine model, as it is “normative”, “abstract”, “unaffected”, “eternal” music. El presente trabajo propone una lectura filosófica del fenómeno de la desintegración de la unidad estilística (que diferencia entre stile antico y stile moderno) acontecido en la música europea y americana en los siglos XVII y XVIII, en términos de lo que Jacques Rancière define como “reparto de lo sensible”. En este marco, se teoriza acerca del lugar que el stile antico ocupa en la definición de lo legítimo religioso, postulando la existencia para este contexto de un “régimen ético de las artes”. ¿Cómo puede plantearse, mediante la música, la relación con lo divino? ¿Qué aspectos de lo sagrado “se dejan ver” en el stile antico y cuáles no? ¿Qué se “puede decir” de lo sagrado en este tiempo y qué valor de legitimidad guarda el stile antico en esta “habilitación para decir”? Utilizando esas preguntas como guía, se postula la hipótesis del stile antico como música sacra “legítima”, “verdadera”, capaz de proponer una “buena” imitación del modelo divino, en tanto música “normativa”, “abstracta”, “desafectada”, “eterna”. Editorial de la Facultad de Artes 2020-07-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Double-Blind Peer Review Paper Artículo revisados por pares (doble ciego) application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/avances/article/view/28743 Avances; Núm. 29 (2020); 213-222 2718-6555 1667-927X spa https://revistas.unc.edu.ar/index.php/avances/article/view/28743/30111 https://revistas.unc.edu.ar/index.php/avances/article/view/28743/30112 https://revistas.unc.edu.ar/index.php/avances/article/view/28743/30113 Derechos de autor 2020 Prof. Lucas Reccitelli https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-310
container_title_str Avances
language Español
format Artículo revista
topic Stile Antico
reparto de lo sensible
Rancière
filosofía de la música
Stile Antico
distribution of the sensible
Rancière
philosophy of music
spellingShingle Stile Antico
reparto de lo sensible
Rancière
filosofía de la música
Stile Antico
distribution of the sensible
Rancière
philosophy of music
Reccitelli, Lucas
‘STILE ANTICO’ AND THE DISTRIBUTION OF THE AUDIBLE: SOUNDING WHAT IS ONLY THINKABLE
topic_facet Stile Antico
reparto de lo sensible
Rancière
filosofía de la música
Stile Antico
distribution of the sensible
Rancière
philosophy of music
author Reccitelli, Lucas
author_facet Reccitelli, Lucas
author_sort Reccitelli, Lucas
title ‘STILE ANTICO’ AND THE DISTRIBUTION OF THE AUDIBLE: SOUNDING WHAT IS ONLY THINKABLE
title_short ‘STILE ANTICO’ AND THE DISTRIBUTION OF THE AUDIBLE: SOUNDING WHAT IS ONLY THINKABLE
title_full ‘STILE ANTICO’ AND THE DISTRIBUTION OF THE AUDIBLE: SOUNDING WHAT IS ONLY THINKABLE
title_fullStr ‘STILE ANTICO’ AND THE DISTRIBUTION OF THE AUDIBLE: SOUNDING WHAT IS ONLY THINKABLE
title_full_unstemmed ‘STILE ANTICO’ AND THE DISTRIBUTION OF THE AUDIBLE: SOUNDING WHAT IS ONLY THINKABLE
title_sort ‘stile antico’ and the distribution of the audible: sounding what is only thinkable
description This paper proposes a philosophic interpretation of the breakup of stylistic unity (with its distinction between stile antico and stile moderno) of European and American Music in the 17th and 18th centuries, in terms of a “distribution of the sensible”, as proposed by Jacques Rancière. Within this framework, we examine the place of stile antico in the definition of what is religiously legitimate. For this purpose, we put forward the existence of an “ethical regime of the arts” within this context. How can music determine the relation with the divine? Which aspects of what is considered sacred are “allowed to be seen” in stile antico and which are not? What “might be said” about the sacred in this context? How legitimate stile antico is with respect to this “permission to say”? With these questions as guides, we propose the hypothesis of stile antico as a “legitimate”, “true” sacred music, which can offer a “good” imitation of the divine model, as it is “normative”, “abstract”, “unaffected”, “eternal” music.
publisher Editorial de la Facultad de Artes
publishDate 2020
url https://revistas.unc.edu.ar/index.php/avances/article/view/28743
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first_indexed 2024-09-03T20:28:36Z
last_indexed 2025-05-10T05:09:01Z
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