Music and the Making of Modern Science

292 Notes to pages 70–75

50. See Berger 1980 , 44 – 56, 88 – 95; he notes that Artusi, like Vincenzo Galilei, found the use of equal tempera-
    ment for the harpsichord “ strange ” (92). The quotations from Artusi 1934 are taken from Lindley 1982 ,
    400 – 404.


51. Klein (1992 , 147 – 148) emphasized the connection between Vi è te ’ s mathematical and astronomical works
    but did not recognize the significance of music as a consequential meeting ground between mathematics and
    perception.


52. Gosselin 1577 , fol. 2r, quoted and discussed in Klein 1992 , 262n225. Gosselin translated Tartaglia 1578 into
    French, which also experimented with the division of a tone into equal semitones (see Moyer 1992 , 126 – 134).
    5 Kepler and the Song of the Earth


53. Strictly, proportional to the semimajor axis of its elliptical orbit. The standard modern edition is Kepler 1937 ,
    to be cited hereafter as KGW, followed by volume number and page, here 6:302. I will cite the translation Kepler
    1997 as HW 411, in this case. Regarding the “ third law, ” see Field 1988 , 142 – 163; Gingerich 1993 , 348 – 356,
    388 – 406. The term “ law ” is due to later scholars, who thereby emphasized Kepler ’ s anticipation of crucial
    Newtonian results ( Wilson 1989 ).


54. See Dickreiter 1973 , who emphasizes Kepler as theorist. For the details of Kepler ’ s arguments, see Stephenson
    1994a ; Field 1988 , 96 – 166; Martens 2000 , 112 – 141. See also Cohen 1984 , 13 – 34; Field 2004. I am particularly
    indebted to Walker 1978 , 34 – 62; Holton 1988 ; Werner 1978 ; Harburger 1980 ; Gingerich 1993, 388 – 406; Koyr é


55. 
    


56. HW 505 (KGW 6:374). Heller-Roazen (2011, 112 – 140) emphasizes Kepler ’ s self-identification with
    Pythagoras.


57. Ibid. For Fludd, see Ammann 1967.


58. See Dickreiter 1973 , 123 – 138.


59. KGW 6:141, 158 – 159, 162; 15:238, 15:397.


60. Dickreiter (1973 , 124) lists some of the polyphonic music used in W ü rttemberg.


61. Ibid., 125. For a helpful study of Kepler ’ s milieu during this period, see Methuen 1998.


62. Dickreiter 1973 , 126.


63. Ibid. , 164.


64. Stephenson 1994b,a; Pesic 2000a , 87 – 112.


65. Dickreiter 1973 , 129.


66. Ibid.


67. Ibid. , 130; KGW 14:13. Kepler already refers to Lasso ’ s motets in a letter of 1599 (KGW 14:9).


68. Letter to Herwart von Hohenburg of August 6, 1599 (KGW 14:29). For Kepler on tuning, see B ü hler 2013,
    53 – 69.


69. Dickreiter 1973 , 131, citation from Chytil 1904 , preface.


70. Among recent studies, see Comberiati 1987 ; Lindell 1994 ; Kmetz 1994 ; Saunders 1995.


71. Maier 1989 , discussed by Liessem 1969 ; Meinel 1986.


72. Dickreiter 1973 , 132 – 133.


73. Evans 1984 , 190 – 193; see Yates 1991 , 78 – 83; Tomlinson 1993 , 45 – 46.


74. Caspar 1993 , 262, from Kepler ’ s letter to Philipp Muller after September 13, 1622, KGW 18:78 – 79, dis-
    cussed also in Pesic 2000b. For Kepler ’ s attitude toward the occult arts, see Rosen 1984 ; Vickers 1984.


75. KGW 17:80, translated by H. Floris Cohen.


76. KGW 6:397.


77. Dickreiter 1973 , 134.


78. Ibid. Though this was a very early foray into ethnomusicology, already in 1578, the Swiss theologian Jean
    de L é ry had transcribed some Brazilian songs (L é ry 1990).


79. HW 217 (KGW 6:158).