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Experiencing Music in the North German Enlightenment

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Experiencing Music in the North German Enlightenment SENSITIVITY, INSPIRATION, AND RATIONAL AESTHETICS: EXPERIENCING MUSIC IN THE NORTH GERMAN ENLIGHTENMENT Kimary E. Fick, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY University of North Texas December 2015 APPROVED: Hendrik Schulze, Major Professor Peter Mondelli, Committee Member Christoph Weber, Committee Member Paul Leenhouts, Related Field Committee Member and Director of Early Music Studies Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of College of Music Costas Tsatsoulis, Dean of Toulouse Graduate School Fick, Kimary E. Sensitivity, Inspiration, and Rational Aesthetics: Experiencing Music in the North German Enlightenment. Doctor of Philosophy (Musicology), December 2015, 295 pp., 2 tables, 3 figures, 19 musical examples, references, 166 titles. This dissertation examines pre-Kantian rational philosophy and the development of the discipline of aesthetics in the North German Enlightenment. With emphasis on the historical conception of the physiological and psychological experience of music, this project determines the function of music both privately and socially in the eighteenth century. As a result, I identify the era of rational aesthetics (ca.1750-1800) as a music-historical period unified by the aesthetic function and metaphysical experience of music, which inform the underlying motivation for musical styles, genres, and means of expression, leading to a more meaningful and compelling historical periodization. The philosophy of Alexander Baumgarten, Johann Georg Sulzer, and others enable definitions of the experience of beautiful objects and those concepts related to music composition, listening, and taste, and determine how rational aesthetics impacted the practice, function, and ultimately the prevailing style of music in the era. The construction, style, and performance means of the free fantasia, the most personal and expressive genre of the era, identify its function as the private act of solitude, or a musical meditation. An examination of pleasure societies establishes the role of music in performance and discussion in both social gatherings and learned musical clubs for conveying the morally good, which results in the spread of good taste. Taken together, the complimentary practices of private and social music played a significant role in eighteenth-century life for developing the self, through personal taste, and society, through a morally good culture. Copyright 2015 by Kimary E. Fick ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my advisor, Dr. Hendrik Schulze. Without his continuing mentorship, guidance, critical insights, and encouragement this dissertation would not be possible. I would also like to thank Dr. Peter Mondelli, Dr. Christoph Weber, and Mr. Paul Leenhouts for serving on my committee and for providing me with their thoughtful support throughout this process. The archival research necessary for the completion of my dissertation was funded by the Deutscher Akademischer Austauschdienst, to which I owe gratitude for financing my six-month research project in Germany. Finally, I would like to thank the Toulouse Graduate School for the financial support of the Dissertation Fellowship for the completion of my dissertation. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS............................................................................................... iii! 1 PHILOSOPHY OF THE NORTH GERMAN ENLIGHTENMENT...............................1! 1.1 Introduction: The Era of Rational Aesthetics ....................................................1 1.1.1 Rational Aesthetics as a Method for Periodization.............................4 1.1.2 Situation Rational Aesthetics..............................................................6 1.2 Perception and Sensation in the Tradition of Gottfried Wilhelm Leibniz.........9 1.2.1 Substances and Apperception ..........................................................10 1.2.2 Sense Perception and Taxonomy of Knowledge ..............................12 1.2.3 A Theory of the Beautiful: The Perception of Perfection and Unity in Diversity .............................................................................13 1.3. Christian Wolff’s Empirical System of Rational Thought .............................15 1.3.1 The Science and Method of Rational Philosophy.............................15 1.3.2 Wolff’s Cognitive Theory and the Hierarchy of Knowledge ...........18 1.3.3 Art and Knowledge...........................................................................20 1.4 Alexander Baumgarten’s Defense of Sensate Knowledge and the Birth of Aesthetics.........................................................................................................22 1.4.1 Baumgarten’s Metaphysical Foundations.........................................23 1.4.2 Defining Aesthetics...........................................................................28 1.4.3 The Aesthetic Character of a Beautiful Spirit...................................32 1.4.4 The Aesthetic Idea and the Beauty of Aesthetic Objects..................37 1.5 Conclusion .......................................................................................................42 2 PHILOSOPHY OF THE AESTHETIC EXPERIENCE. ...............................................44 iv 2.1 Introduction: Defining the Aesthetic Experience ............................................44 2.2 Principles of Empfindungen.............................................................................45 2.2.1 The Experience of Empfindungen.....................................................47 2.2.2 Empfindungen and Moral Worth ......................................................52 2.2.3 The Subjective and Objective in the Aesthetic Experience..............54 2.2.4 Empfindungen and Literature............................................................57 2.3. Sensory Pleasure and the Aesthetic Power of Music......................................61 2.3.1 Energie in the Beautiful Arts ............................................................61 2.3.2 The Value of Tonkunst and the Finer Sense of Hearing ...................70 2.3.3 Case Study: Literary Representations of the Aesthetic Power Power of Music.................................................................................75 2.4 Empfindungen and the Creative Power of the Artist .......................................78 2.4.1 Inspiration (Begeisterung) ...............................................................78 2.4.2 Invention (Erfindung) ......................................................................83 2.4.3 Genius ...............................................................................................88 2.5 Taste, the Musical Amateur, and Identity Formation ......................................92 2.5.1 Defining the Faculty of Taste: An Inner Gefühl ...............................92 2.5.2 Kenner and Liebhaber in Society .....................................................99 2.6 Conclusion .....................................................................................................105 3 PRIVATE EMPFINDUNGEN AND THE FREE FANTASIA ...................................106 3.1 Introduction....................................................................................................106 3.2 The Development of the Free Fantasia ..........................................................107 3.2.1 From Ingenium to Empfindungen ...................................................107 v 3.3. Meditation and Free Expression at the Clavichord.......................................113 3.3.1 Solitude: The Free Fantasia as Meditation .....................................113 3.3.2 Person Expression ‘An das Clavier’ ...............................................121 3.4 Manifestations of the Free Fantasia ...............................................................129 3.4.1 The Improvised Free Fantasia.........................................................131 3.4.2 The Simple-Composed Fantasia for Forming Empfindungen ........139 3.4.3 Case Study: Clavierstücke verschiedenerArt as “vollkommene Bildung” ..................................................................149 3.4.4 The Complex-Composed Fantasia: The Originalgenie and Identity Construction ......................................................................157 3.5 Conclusion ....................................................................................................172 4 SHARED EMPFINDUNGEN: MUSIC AND SOCIAL PLEASURES.......................174 4.1 Introduction....................................................................................................174 4.2 Society in the Age of the Enlightenment .......................................................175 4.2.1 Social Pleasures for Moral Development and Culture....................175 4.2.2 Societies for Pleasure......................................................................190 4.3. Music in Society ...........................................................................................196 4.3.1 The Aesthetics of Social Participation in Performance ..................197 4.3.2 Hausmusik in Family Gatherings....................................................202 4.3.3 The Emergence of Musical Societies..............................................223 4.3.4 Case Study: Music in the Court of Herzogin Anna Amalia of Sachsen-Weimar ...............................................................................236 4.4 Conclusion ....................................................................................................243
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