Rousseau's Musical Politics
Dissertation, The Claremont Graduate University (
1998)
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Abstract
Rightly regarded as one of the foremost political philosophers of Western Civilization, Jean-Jacques Rousseau has been the subject of a great deal of study by political scientists, historians, literary theorists and other contemporary scholars. However, most of these learned studies fail to give an adequate account of the way in which Rousseau's musical writings inform his larger political philosophy. When read closely, these writings show a profound skepticism about the natural influence of reason in the human soul. Calling attention to the emotive power and durability of music, Rousseau offers a new and unique account of the human soul that relies on the passions for enduring meaning in politics. This reformulated version of the passionate soul stands as a remedy for the ill effects of modern rationalism and the dehumanizing consequences of liberal contractarianism. ;Chapter one provides an examination of the importance of music in the political philosophies of various ancient and modern thinkers so as to provide an outline of the ideas that preceded Rousseau, and the type of thinking he rebuts. Chapter two provides an interpretation of the Discourse on Inequality that shows how Rousseau divorced reason from human nature, relying instead on the passions associated with sex for the origin of sociability. In the third chapter, the Essay on the Origin of Languages is compared to the Second Discourse in order to show how perfected, grammatical language emerged only after the expressive, passionate communication in the state of nature was abandoned. Chapter four examines those writings that treat of music specifically--the Dictionary of Music and other works. The corruption and rationalism of music are shown to parallel the corruption of morals and virtue. The way in which music is utilized in the upbringing of a young child and the formation of manhood is the subject of Chapter five, with Emile being the main text discussed. Chapter five also concludes by drawing comparisons between the composer's art and the Legislator's art for wise lawgiving in a republican form of government