Kamatani, Pamela M. (Author)
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.
...MoreDescription Cited in Diss. Abstr. Int. A 66/03 (2005): 812. UMI pub. no. 3167202.
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