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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quaiity of the copy sutwnitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 IM AN EIGHTEENTH CENTURY PIETIST THEORY OF MUSIC PSYCHOLOGY; im . BREVISSIMA THEORIAEMUSICAEANALYSIS OF JOHANN FRICKER AND FRIEDRICH OETINGER DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Peter John Knapp, B.M., M A., M.M. ***** The Ohio State University 2001 Doctoral Examination Committee: Professor Burdette Green, Adviser Approved by Professor Kirk Freudenburg Adviser Professor Graeme Boone Music Graduate Program UMI Number; 3011096 UMI* UMI Microform 3011096 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 / ABSTRACT Johann Flicker and Friedrich Oetinger were eighteenth century Pietist pastors from Wuertemberg, Germany. Oetinger was one of the leading minds in the Pietist movement, and is well known among religious scholars for his contributions to that movement. Among music scholars, he is virtually unknown, though he did make a music-theoretic contribution. He appended to his treatise Inquisitio in Sensum Communem et Rationem (1753) a short music treatise by Fricker for which he provided an extensive commentary. This appendix served to illustrate the application of the sensus communis (literally, “common sense”)—the God-given organ that allows humans to make various types of perceptions. In the music theory portion, Fricker draws on the ideas of both Leonhard Euler and Johann Mattheson, among others. The mathematical complexity of ratios in eighteenth-century music led Fricker to develop a psychological theory wherein the mind simplifies the ratios through the use of exponents and thereby makes possible the rapid perception of the various aspects of a composition: intervals, melody, harmony, rhythm, and text. Oetinger’s commentary deals extensively with the metaphysical issues surrounding the perception of music through the application of the sensus communis. 11 Dedicated to my wife, Lisa, whose love, patience, and generous spirit made this work possible. lU ACKNOWLEDGMENTS I wish to thank my adviser. Burdette Green, for his generous support, remarkable expertise, and most especially, his personal guidance. His broad knowledge, extensive experience, and excellent writing skills enabled me to create a truly scholarly document. 1 thank Kirk Fruedenburg for his patient, thorough, and expert work on the Latin translation. His commitment to this project was above and beyond the call of duty, and his work was greatly appreciated. 1 am grateful to Graeme Boone for his thoughtful comments and excellent writing. His personal enthusiasm for the work was a great encouragement. 1 also wish to thank Mr. Thomas Nahrmann of Frommer Verlag Publishing for his permission to use extensive quotes of the Latin manuscript. IV VITA Peter J. Knapp 1969 Bom: Chicago, IL. 1992 Bachelor of Music, Education, Elmhurst College. 1998 Master of Music, Composition, The Ohio State University. 1996 Master of Arts, Music Theory, The Ohio State University. 1995 Graduate Research Associate, Music Psychology, The Ohio State University. 1995-2000 Graduate Teaching Associate, Music Theory, The Ohio State University. FIELDS OF STUDY Major Field: Music Studies in Music Theory: Burdette Green, Gregory Proctor, Lora Gingerich Dobos Studies in Music Psychology: David Butler, Caroline Palmer, David Huron Studies in Music Composition: Jan Radzynski, Richard Smoot, Thomas Wells TABLE OF CONTENTS DISSERTATION................................................................................................................... i ABSTRACT.......................................................................................................................... ii DEDICATION.....................................................................................................................üi ACKNOWLEDGMENTS....................................................................................................iv VITA......................................................................................................................................V FIELDS OF STUDY............................................................................................................. v UST OF TABLES..............................................................................................................vii LISTOFHGURES..............................................................................................................ix PREFACE............................................................................................................................ xi INTRODUCTION..................................................................................................................1 Biographies .........................................................................................................................1 A Brief History of Pietism ................................................................................................6 Opposition to Pietism and the Enlightenment .................................................................10 Conclusion ........................................................................................................................12 Sources .............................................................................................................................13 Translation Issues ............................................................................................................ 16 PART I TRANSLATION................................................................................................... 18 IFRICKER! SECTION II............................................................................................. 18 rOETINGER; SECTION 111........................................................................................80 IFRICKER; SECTION IIIl..........................................................................................97 lOETlNGER: SECTION IV1..................................................................................... 114 PART n COMMENTARY ON THE VIEWS OF FRICKER AND OETINGER 151 CHAPTER 1.......................................................................................................................151 MATHEMATICS APPLIED TO MUSIC THEORY...................................................... 151 CHAPTER 2.......................................................................................................................168 THEORIES OF MUSIC PERCEPTION...........................................................................168 Psychological Thought of the eighteenth-century .........................................................168 The Psychological Theory of Music: Fricker and Oetinger ......................................... 174 CHAPTERS.......................................................................................................................188 EPISTEMOLOGY AND AESTHETIC POSITION........................................................ 188 Epistemology ................................................................................................................. 188 The Mind-Body Issue .................................................................................................... 191 Aesthetic Position .......................................................................................................... 195 CHAPTER 4...................................................................................................................... 199 THE LEGACY OF THEIR THOUGHT...........................................................................199 Oetinger’s Influence on Romanticism: Schenker and Goethe .....................................199 Gadamer’s Debt to Oetinger. Christensen’s Debt to Gadamer....................................206 yi BIBLIOGRAPHY.............................................................................................................210 Primary Sources ...........................................................................................................
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