The Rise, Union, and Power, the Progressions, Separations, and Corruptions, of Poetry and Music

Those who are curious about 18th century ethnomusicology might want to look at A Dissertation on the Rise, Union, and Power, the Progressions, Separations, and Corruptions, of Poetry and Music. To which is Prefixed, The Cure of Saul. A Sacred Ode by Dr. John Brown  published in 1763.   http://archive.org/details/dissertationonri00browuoft  This full text can be downloaded, or read online.   Brown argued that music, poetry, religion and law arose together, and that the first lawgivers were singers and musicians.  He has interesting things to say about American Indian music and ritual, and quotes extensively from the scientific Jesuit missionary father Joseph-Francois Lafitau, before making some generalizations.

"Among the savage Tribes, the Chiefs are they who most signaliize themselves by Dance and Song, and that their Songs roll principally on the great actions and Events which and events which concern their own Nation" p.37
"Their Songs would be of a legislative Cast, and being drawn chiefly from the Fables or History of their own Country, would contain the essential Parts of their religious, moral, and political Systems." p.39

Much of the rest of the book draws evidence from the classical world, the Bible, and finally China, Peru, and India, to further demonstrate these points.   He then turns to the period of Roman decadence, to the disintegration of this unity of performing arts, law and religion, and to the rise of Italian opera. 

"Tis said, indeed, that the Weakness and Impropriety of this Entertainment is chiefly found in foreign Countries, where the Italian Poetry and Music are not native; but that in ITALY, its Power and Influence are considerable.  This the sensible ROUSSEAU affirms in his Dissertation on the French and Italian Music.  But particular and well attested Facts are stubborn Things, and will not bend to general Affirmations:  And of this Fact, the concurrent Testimony of all observant Travelers assures us; That in the Italian Theatre, the Seats of the chief Hearers resemble so many separate Apartments, where the Nobility sit retired, conversing on indifferent subjects, and regardless of the Progress of the Drama, till some celebrated Singer comes upon the Stage; and then, and then only, ensues a Burst of Rapture, of Bravos, Encores, and Applause.  This Passion, therefore, thus expressed on this Occasion, is evidently the Effect, not of a true Feeling of the Subject or tragic Action, which is entirely disregarded, but (as in the later Periods of ancient ROME) of an extravagant Admiration of the Singer's Ability and Art." pp 207-8

The phrase "facts are stubborn things" must have been a commonplace--the earliest citation I have found is from a speech by John Adams, from 1770, seven years after Brown's Dissertation.