Coronavirus disease 2019

COVID-19 is a contagious disease caused by the coronavirus SARS-CoV-2. In January 2020, the disease spread worldwide, resulting in the COVID-19 pandemic.

The symptoms of COVID‑19 can vary but often include fever,[7] fatigue, cough, breathing difficulties, loss of smell, and loss of taste.[8][9][10] Symptoms may begin one to fourteen days after exposure to the virus. At least a third of people who are infected do not develop noticeable symptoms.[11][12] Of those who develop symptoms noticeable enough to be classified as patients, most (81%) develop mild to moderate symptoms (up to mild pneumonia), while 14% develop severe symptoms (dyspnea, hypoxia, or more than 50% lung involvement on imaging), and 5% develop critical symptoms (respiratory failure, shock, or multiorgan dysfunction).[13] Older people have a higher risk of developing severe symptoms. Some complications result in death. Some people continue to experience a range of effects (long COVID) for months or years after infection, and damage to organs has been observed.[14] Multi-year studies on the long-term effects are ongoing.[15]

COVID‑19 transmission occurs when infectious particles are breathed in or come into contact with the eyes, nose, or mouth. The risk is highest when people are in close proximity, but small airborne particles containing the virus can remain suspended in the air and travel over longer distances, particularly indoors. Transmission can also occur when people touch their eyes, nose, or mouth after touching surfaces or objects that have been contaminated by the virus. People remain contagious for up to 20 days and can spread the virus even if they do not develop symptoms.[16]

Testing methods for COVID-19 to detect the virus’s nucleic acid include real-time reverse transcription polymerase chain reaction (RT‑PCR),[17][18] transcription-mediated amplification,[17][18][19] and reverse transcription loop-mediated isothermal amplification (RT‑LAMP)[17][18] from a nasopharyngeal swab.[20]

Several COVID-19 vaccines have been approved and distributed in various countries, many of which have initiated mass vaccination campaigns. Other preventive measures include physical or social distancing, quarantining, ventilation of indoor spaces, use of face masks or coverings in public, covering coughs and sneezes, hand washing, and keeping unwashed hands away from the face. While drugs have been developed to inhibit the virus, the primary treatment is still symptomatic, managing the disease through supportive care, isolation, and experimental measures.

La música barroca como discurso retórico de afectos

Para Cicerón, “el buen orador es el que tiene la habilidad de mover los afectos de quien lo escucha”. Un buen discurso, debe ser “agradable, instructivo y conmover al oyente: delectare, docere y movere[1].

Así, paralelamente a la elaboración de una teoría de retórica musical, fue creada y muy desarrollada en el barroco, una teorización de los Afectos o Pasiones del alma.

Fueron publicados varios tratados teóricos generales buscando definiciones y sistematizaciones racionales de los afectos, destacándose de entre ellos el Tratado de René Descartes, Les Passions de l’âme, publicado en 1649.

El objetivo y función de la música es así, como escribe Giulio Caccini en el prefacio a su colección Le Nuove Musiche, publicada en 1601, “mover los afectos del alma”. Y para Geminiani[2]: “la intención de la música no es solamente dar placer al oído, es también expresar sentimientos, despertar la imaginación, tocar la mente y comandar las pasiones”.

Los tratadistas musicales como Quantz, Werckmeister, Matheson, y varios otros dedicaron grandes secciones de sus tratados a categorizar y describir tipos de afectos, relacionándolos con las escojas de tonalidades, articulación, movimientos de danza, de colores instrumentales, melodías, etc. Una tonalidad mayor, por ejemplo, servia para expresar alegría y sentimientos nobles en cuanto una menor era más apropiada a un sentimiento de tristeza, melancolía o ternura.[3]

Una vez más, depende tanto del compositor como del intérprete realizar el objetivo que se propone la música: mover los afectos de los oyentes.

Y, como refiere Carl Philip Emmanuel Bach, “un músico no puede conmover a los demás a menos que él también este conmovido. Necesariamente debe sentir todos los afectos que desea despertar en el oyente”[4].

 


[1] ibidem

[2] cit. por Colin Lawson y  Robin Stowell en The Historical Performance of Music – An Introduction, p.28

[3] Historical Performance, An Introduction, p. 30

[4] Ibidem, p.47