Harmonices Mundi (1619) by Johannes Kepler had a profound and lasting impact on the scientific landscape of his generation. His work also contains compelling observations about the significance of Kepler’s interpretation of Neo-Platonic based early seventeenth-century ideas on celestial music theory and philosophy. The scientific yet symbolically rich music theory of Kepler was not only a continuation of an ancient tradition dating from the epoch of Pythagoras (c.570BC-490BC) but may have also been used in practical music-making. Recent research implies that these theories were applied in music composition and the performance practice of music at the flourishing Renaissance Hapsburg court of Rudolf II (1552-1612) in Prague (Nicholas Johnson, 2012). The aim of this doctoral research project is to further investigate and document how a more informed understanding of Kepler’s music theory, as described in his Harmonices, could be used to enhance the practice of historically informed musicians today.
This research proposal aims to demonstrate the need for critical research to be conducted on the cosmologically based music theory detailed in Johannes Kepler’s Harmonices Mundi (1619). This study aims to elucidate how the music theory of Kepler could be applied or “emulated” by historically informed performers so that performers using historically informed performance practices (HIP) can further enrich and enhance their artistic approach to music of the late sixteenth and early seventeenth century. The key focus of this research project will be on the evident use of prevalent astrological and astronomical imagery in this theory, how these ancient cosmological archetypes were infused into music of this period and to investigate the strong use of astrological symbolism to powerfully convey rhetorical meaning and socio-political themes. Recent research indicates that there is clear evidence of music composed in the Hapsburg court of Rudolf the II, where Kepler worked, using astrological and astronomical themes. These cosmic archetypes were used by the court composers of the Rudolfine court to further the narrative of Rudolf‘s might and majesty as a ruler.