D'Alembert's first exposure to music theory was in 1749 when he was called upon to review a
Mémoire submitted to the Académie by
Jean-Philippe Rameau. This article, written in conjunction with
Diderot, would later form the basis of Rameau's 1750 treatise ''Démonstration du principe de l'harmonie''. D'Alembert wrote a glowing review praising the author's deductive character as an ideal scientific model. He saw in Rameau's music theories support for his own scientific ideas, a fully systematic method with a strongly deductive synthetic structure. Two years later, in 1752, d'Alembert attempted a fully comprehensive survey of Rameau's works in his
Eléments de musique théorique et pratique suivant les principes de M. Rameau. Emphasizing Rameau's main claim that music was a mathematical science that had a single principle from which could be deduced all the elements and rules of musical practice as well as the explicit Cartesian methodology employed, d'Alembert helped to popularise the work of the composer and advertise his own theories. D'Alembert instead claimed that three principles would be necessary to generate the major
musical mode, the minor mode, and the identity of
octaves. Because he was not a musician, however, d'Alembert misconstrued the finer points of Rameau's thinking, changing and removing concepts that would not fit neatly into his understanding of music. Although initially grateful, Rameau eventually turned on d'Alembert while voicing his increasing dissatisfaction with
J. J. Rousseau's
Encyclopédie articles on music. This led to a series of bitter exchanges between the men and contributed to the end of d'Alembert and Rameau's friendship. A long preliminary discourse d'Alembert wrote for the 1762 edition of his
Elémens attempted to summarise the dispute and act as a final rebuttal. D'Alembert also discussed various aspects of the state of music in his celebrated
Discours préliminaire of
Diderot's
Encyclopédie. D'Alembert claims that, compared to the other arts, music, "which speaks simultaneously to the imagination and the senses," has not been able to represent or imitate as much of reality because of the "lack of sufficient inventiveness and resourcefulness of those who cultivate it." He wanted musical expression to deal with all physical sensations rather than merely the passions alone. D'Alembert believed that modern (
Baroque) music had only achieved perfection in his age, as there existed no classical
Greek models to study and imitate. He claimed that "time destroyed all models which the ancients may have left us in this genre." He praises Rameau as "that manly, courageous, and fruitful genius" who picked up the slack left by
Jean-Baptiste Lully in the French musical arts. ==Personal life==