The shift to Bach from Johann Joseph Fux ( Wikipedia) shows that Bach as the 'The Steward of Unmeaning Art,' according to Charles Burney in 1789, 2 today is the subject of debate in reception history concerning 'its allegiance to Bach as the shining exemplar of an emancipated musical imagination,' says White (Ibid.: 18), who sides 'with a vigorous affirmation of Bach's musical autonomy.' 'Those questions about the conflict between intellect and obedience which Satan muses in Paradise Lost are fundamentally reformulated in Bach's compositional behavior,' says White (Ibid.: 111).

This discussion continues in Chapter 3, 'The Steward of Unmeaning Art: Bach and the Musical Subject' (Ibid.: 110ff). The Harry White comparison of specific textual affinities in three Da capo arias each by Fux and Bach, respectively, 1 illustrates 'the continuity as well as the distinction between servitude and autonomy as agents of musical discourse' in his study, The Musical Discourse of Servitude: Authority, Autonomy and the Work-Concept in Fux, Bach, and Handel. White Chapter 3, 'The Steward of Unmeaning Art: Bach and the Musical Subject'

Da capo 3 r config