EIGHTEENTH-CENTURY HISTORIES: THE ENLIGHTENMENT
IT is now time to pick up the thread dropped at the end of Chapter 1. The last history discussed under Baroque research was the compilation, by the Bonnet brothers, in 1715, of the Abbé Bourdelot's Histoire de la musique. The same work was mentioned at the beginning of Chapter 3, to show that it continued, in form, the Biblical type of chronology favored by the religious tradition; and the scholastic "divisions" which had been passed on by Boethius. It will be quoted again to show the nationalistic fervor of the author (Chapter 8, IV). In the Preface, Music is personified as running to the French monarch for protection -- a dramatic touch, which seems to contradict the continuation of scholastic "divisions." This personification of music has a double significance: in one sense, it illustrates the journalistic tendency in Bonnet's work, and on the other hand it emphasizes the possibility of considering music as one art, which has developed in the course of time. Calvisius, in 1600, had treated music as an art to which successive great men had added parts, to build up and develop it to perfection. This method is the foundation of the biographical form of treatment, which comes to be the favored approach throughout the eighteenth century.
The method of biographies in a genealogical chain and the tendency to treat the art of music in terms of its "inventors" completely shoved the pluralistic methods of Praetorius out of the eighteenth-century picture. The ethical interests of Cerone also came to be forgotten as a basic consideration until Cyril Scott's work, discussed at the end of Chapter 3. In that same chapter it was also noted that during the eighteenth century the religious tradition came to be separated entirely from the naturalistic legends of music's origins. The frontispiece, from Printz' Historische Beschreibung