It is not surprising that Plato and Aristotle share certain points of view considering their teacher-student relationship, but it is certainly not shocking that certain opinions of great minds like theirs clash in other respects. Their views on music follow the same example of both related and clashing ideas.
PLATO, in his “utopian” republic chooses music, next to gymnastics, as one of the two components of education. He believes that education should begin in early years and continue through life for beginning is the most important in forming young children. In his opinion education should start with music in particular for he attributes great spiritual power to musical education by saying: musical training is a more potent instrument than …show more content…
(234) He is very much interested in pleasure for one’s own sake and is especially interested in the relation of the “free” people to music. From Aristotle’s point of view “melodies are divided by some into those relating to character, action, and inspiration.” He states that it is generally agreed that they [melodies] cause souls to become inspired, and inspiration is an emotion that affects the character of one’s soul (p. 235). For this reason, he believes that children should clearly be introduced to music and educated in it since it is appropriate for their “youthful nature”. Similarly to Plato, Aristotle ascribes great power to music and compares it with virtue, but states it can show other characters too. Since music happens to be one of the pleasures, and virtue is a matter of enjoying, loving, and hating in the right way, it is clear that nothing is more important than that one should learn to judge correctly and get into the habit of enjoying decent characters and noble actions. But rhythms and melodies contain the greatest likenesses of the true natures of anger, gentleness, courage, temperance, and their opposites, and of all the other components of character as well...For when we listen to such representations our souls are changed. Unlike Plato’s, Aristotle’s definition of what music consists of lacks the third element, the …show more content…
But suggests that we should accept any other that passes the inspection carried out for us by those who share in the practice of philosophy and musical education. He criticises Plato for condemning “relaxed harmonies”, for he thinks that they are suitable for the elder and the young ones, and for only including Dorian and Phrygian harmonies. Nevertheless, he does not understand why Plato chose Phrygian for is like the flute among the instruments since it is as “frenzied and emotional”. He continues that if there is a certain sort of harmony that is suited to childhood, because it has the power to provide both order and education at the same time (as seems particularly true of the Lydian harmony), those should be used. As Plato, he believes that anything that promotes “Pleasure for embellishments” should be banned. But he, unlike Plato holds that in some cases, strained and over-ornamented melodies and deviant harmonies should be permitted if it’s aking to some person’s nature. Those, as well as sacred melodies which purify one’s soul are allowed in theaters. He agrees that the rules for harmonies should be applied to rhythms as well. Some are moving, others are steady and some are more “slavish or boorish” and some are more free. As for instruments, he deems rattle to be suitable for children in infancy and agrees with Plato that flutes should not be included into
PLATO, in his “utopian” republic chooses music, next to gymnastics, as one of the two components of education. He believes that education should begin in early years and continue through life for beginning is the most important in forming young children. In his opinion education should start with music in particular for he attributes great spiritual power to musical education by saying: musical training is a more potent instrument than …show more content…
(234) He is very much interested in pleasure for one’s own sake and is especially interested in the relation of the “free” people to music. From Aristotle’s point of view “melodies are divided by some into those relating to character, action, and inspiration.” He states that it is generally agreed that they [melodies] cause souls to become inspired, and inspiration is an emotion that affects the character of one’s soul (p. 235). For this reason, he believes that children should clearly be introduced to music and educated in it since it is appropriate for their “youthful nature”. Similarly to Plato, Aristotle ascribes great power to music and compares it with virtue, but states it can show other characters too. Since music happens to be one of the pleasures, and virtue is a matter of enjoying, loving, and hating in the right way, it is clear that nothing is more important than that one should learn to judge correctly and get into the habit of enjoying decent characters and noble actions. But rhythms and melodies contain the greatest likenesses of the true natures of anger, gentleness, courage, temperance, and their opposites, and of all the other components of character as well...For when we listen to such representations our souls are changed. Unlike Plato’s, Aristotle’s definition of what music consists of lacks the third element, the …show more content…
But suggests that we should accept any other that passes the inspection carried out for us by those who share in the practice of philosophy and musical education. He criticises Plato for condemning “relaxed harmonies”, for he thinks that they are suitable for the elder and the young ones, and for only including Dorian and Phrygian harmonies. Nevertheless, he does not understand why Plato chose Phrygian for is like the flute among the instruments since it is as “frenzied and emotional”. He continues that if there is a certain sort of harmony that is suited to childhood, because it has the power to provide both order and education at the same time (as seems particularly true of the Lydian harmony), those should be used. As Plato, he believes that anything that promotes “Pleasure for embellishments” should be banned. But he, unlike Plato holds that in some cases, strained and over-ornamented melodies and deviant harmonies should be permitted if it’s aking to some person’s nature. Those, as well as sacred melodies which purify one’s soul are allowed in theaters. He agrees that the rules for harmonies should be applied to rhythms as well. Some are moving, others are steady and some are more “slavish or boorish” and some are more free. As for instruments, he deems rattle to be suitable for children in infancy and agrees with Plato that flutes should not be included into