Thesis ID: CBB001561819

Science, Metaphysics, and the Late Works of J. S. Bach (2004)

unapi

Kamatani, Pamela M. (Author)


University of California, Berkeley
Crocker, Richard L.


Publication Date: 2004
Edition Details: Advisor: Crocker, Richard L.
Physical Details: 305 pp.
Language: English

During the last decade of his life, Johann Sebastian Bach (1685--1750) increasingly turned to the composition of large-scale canonic and fugal variation sets built on architectonic principles. For the Society of Musical Sciences (founded by his pupil Lorenz Christoph Mizler), which Bach joined in 1747, he submitted the _Canon triplex_, the _Canonic Variations on Vom Himmel hoch_, and the _Musical Offering_, and probably would have submitted the _Art of Fugue_ had he lived longer. This unprecedented focus on canon and fugue has long been understood as Bach's reaction to attacks on his music by Johann Adolph Scheibe that began in 1737. Scheibe's criticism of Bach's music as ``unnatural'' turned the polemic into a philosophical debate on the representation of nature. But Bach's music appears to correspond accurately to the conception of nature held by the pre-eminent philosopher Gottfried Wilhelm Leibniz (1646--1716). An investigation of the actual influence of Leibniz on eighteenth-century musical thought has not been made, however, nor has a relationship between Leibniz and Bach been established. Such a relationship can be established through the Society of Musical Sciences, which was modeled after the Berlin Society, founded in 1700 by Leibniz himself. Mizler's Society, which required that members be ``well-versed in philosophy and mathematics'' and instructed them to study the works of Leibniz, aspired to carry out Leibniz' unfulfilled wish to investigate music as both a mathematical and metaphysical science. Leibniz' metaphysics held that the universe was a complex, yet orderly and architectonic construct comprising multiple, overlapping perfections in continuous transformation. Leibniz' own metaphor for this conception was contrapuntal music. This view was adopted by some members of Mizler's Society who regarded canon as the summit of composition for its ability to represent the Leibnizian universe. On a broader level, the rationalist and scientific views of the Society provide a window onto the intellectual climate of the mid- eighteenth-century and illuminate the views that Bach apparently shared.

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Description Cited in Diss. Abstr. Int. A 66/03 (2005): 812. UMI pub. no. 3167202.


Citation URI
https://data.isiscb.org/isis/citation/CBB001561819/

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Authors & Contributors
Garber, Daniel
Basile, Pierfrancesco
Rumore, Paola
Salatowsky, Sascha
Howard, Stephen
Dunham, Jeremy
Journals
British Journal for the History of Philosophy
Revue de Synthèse
Studies in History and Philosophy of Science
Journal of the History of Philosophy
Publishers
Cambridge University Press
University of Colorado at Boulder
W. W. Norton & Co.
University of Pittsburgh Press
Polity Press
Oxford University Press
Concepts
Metaphysics
Philosophy
Monads, monadology
Natural philosophy
Mechanism; mechanical philosophy
Physics
People
Leibniz, Gottfried Wilhelm von
Wolff, Christian von
Newton, Isaac
Kant, Immanuel
Volder, Burchardus de
Ravaisson, Félix
Time Periods
17th century
18th century
19th century
Early modern
Enlightenment
20th century, early
Places
Germany
France
China
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