ancient greek music -the pure phenomena of music attracted the interest of various early philosophical schools especially

the Pythagoreans, who primarily viewed it as a paradigm for important truths found in its harmonious reflection of number-for them, the ultimate reality. The use of harmonious structure in actual individual pieces was of secondary interest, though they were concerned with its mimetic characteristics, which gave music its power in human life. -Plato followed the Pythagorean tradition in using music as a cosmological paradigm in his Timaeus, but he was also aware of its influence on behaviour and concerned himself in the republic and laws with such practical issues as the types of music to be allowed in an enlightened civilisation. -Aristotle was interested in the educational function of music and its role in the development of character, though his positions, differed somewhat from those of plato. Within aristotles scientific tradition, his disciple Aristoxenus developed a highly sophisticated system for analysing musical phenomena in a treatise under the title harmonic elements -aesthetics of music plato maintains (in republic, iii.12) that music, when properly applied, is an ethical force in education and for this purpose has to be closely controlled against innovations. At the root of his thinking lies the belief that music has a definite content which can be transmitted to the listeners. -Aristotle is less critical of music and recognises its various uses, from a pleasurable activity to a force producing a certain effect on the moral character of the soul (politics, viii. 5) -analysis From the time of plato and aristotle, speculation about the effects of music as a spiritual and psychological force brought with it a consistent concern to explore the nature itself -Education- For plato, exercise and music were crucial for the development of young people. The person educated in music would be able to discriminate between the ugly and the beautiful in art and in nature, and rhythm and harmony are thought to enter the soul. bearing grace with them.

P2: P3: P4: Conclusion: therefore I have shown, main points, summarise, no new points. Terms + definitions, genres, elements of music. Use musical language, analyse it within the style, put together commentary Each paragraph has one point

Speak of kitara and alis. Modes and instruments No opinions 6 paragraphs Bibliography: Smith, John. 2011. Words and music. New York: Scarecrow Press. Harvard quoting (Smith, 2011, pg.84) All titles in italics. New Grove on Plato: -Greek Philosopher -the meeting of the past and future in his writings -Attitude to musical instruments -The aulos and kitara had platos attention -was aware auletes could fill the consciousness of listeners -the buzzing sound of auloi his concern with tonal characteristics -Panharmonic intruments -Aulos is an ancient greek pipe instrument -Banned the aulos from city states he said other panharmonic intruments only imitate it (being able to play a wide variety of modes) -harmoniai- modes greek system of modes -(republic) upon experiments with the harmoniai show the system of individual modes (non-interchangable) had by his time been replaced by the empirical system -the type of aulos banned by plato, capable of modulating within a tempered compass -not conerened with the technical capabilities, wished to eradicate what he considered an alien element in Green religion -he did not claim familiarity with technical theory -Plato credited modality and rhythm with a great inherent power to charm (republic, 601a 1-7,-b 1.2) -plato seldom named individual modes, except in a noteworthy passage where he rejected all of them except the Dorian and Phrygian. -Plato warned that a wrong handling of music could make the hearer liable to fall into evil habits New Grove Aristotle: -The attitudes, which characterize an individual have thus always existed potentially within him, music can evoke them, but it cannot implant them. -several points which have been mentioned illustrate the ways in which Aristotles approaches differed from those of Plato. -went to seek to ban the kithara from education Philosophical perspective on music: -ideas have left such an inevitable mark, virtually all subsequent discussions of musics nature and value are forced to contend with them. -music was but one of platos concerns to which he devoted his attention, his writings returned to it time and time again

-plato leaves us with a number of subtly differing perspectives on musics nature and value, which do not exactly cohere into the tight philosophical system one might expect of someone writing on the subject today. -music was not a specialised, insular enterprise for the Greeks but something that pervaded virtually every aspect of their lives and secondly music was therefore something plato took very very seriously -His attitude toward it was one of both profound respect and deep suspicion -what plato says is not always pleasing or endearing, some of his claims seem quaint, nave, or antiquated, others simply offensive. -his belief in musics power to shape character for good and ill, or to enhance or undermine the security of society and state, his advocacy of musical censorship, and his disdain for musical innovation. -Plato believes the unexamined life is simply not worth living. -the answers plato offers are not always clear although ambiguity is to be expected where new terrain is being explored -At times Plato seems to imply that as an earthy manifestation of ideal or divine harmony music can give us vital, if fleeting, insights into its nature that music tells us things about the harmony of the universe we could not otherwise know. -He also seems to imply at times that music imitates the beauty of the harmoniously balanced soul. -harmonia forges unity from diversity, pattern from randomness, relatedness from difference. -musics harmony was significant not only musically but ethically, morally, politically, and socially as well. The more one experienced and understood properly harmonious music there more one understood the harmony which lay at the centre of virtually everything of value to the greek mind. -the precise structure and sound of the musical harmoniai is lost forever. We know, however that each harmonia was believed to express and dispose a distincitive type of character. The Ionian and Lydian, Plato claims, dispose softness, indolence and sentimentality. The tenor Lydian, or mixolydian, expresses lamentation and sorrow and the phyrigian and dorian beget courage and temperance, respectively. Precisely how this could be remains one of the great mysteries of musical history. -As plato sees it, people are oblivious to the powerful ways music influences habits of thought, action, and perception: music making is mostly an unreflective, untheorized kind of practice. It shapes thought, action and perception in powerful ways to which most people, musicians included, are oblivious. Bad imitations and pleasing imitations of bad things are not the innocucous things people believe them to be. -Aristotles use of the term harmonia seems for the most part to imply the interchangeabletempered modal complex which replaced the original modes. -Concerning musics imitative nature and capacity to influence human character, however Aristotle has relavitely little to add to Plato. Music is fundamentally representative, Aristotle believes and our souls do indeed undergo changes when we hear it. There seems to be in us a sort of affinity to musical modes and rhythms he says. Which gives music the power to shape the soul, but even so Aristotles attitude toward images and imitation is more tolerant and trusting than Platos: Imitation is natural to man from childhood, one of his advantages over the lower animals.

Renaissance book: -Music is defined by plato in the third book of his Republic where he says its a combination of words harmony and rhythm. -harmony is a general term and in speaking of it Pythagoras says and after him Plato, that the world is composed of it. -takes its name from harmonia -it is the proportion of the low and the high, and of words and rhythm, that is, well arranged with respect to the long and the short. And harmony is likewise in musical instruments. -harmony may be composed of all of these things combined words well sung, and their instrumental accompaniment -rhythm is likewise a general term Aristides Quintilianus says that is it a system of times arranged in certain orders, a system being simply an ordering of things. -Plato says that it is divided into three species, by progressing either by harmony or by bodily movement or by words. Bodily rhythm being manifest to the eye, the other two species to the ear. Rhythm is simply giving time to words that are sung as long, short, fast or slow, just like musical instruments. -practical music is a combination of words arranged by a poet into verses made up of various metres with respect to the movement. -Plato says that there are two disciplines one for the body, which is gymnastics and one for the good of the mind, which is music; he also tells us that Thales and Milesian sang so sweetly that he not only influenced the mind of certain persons, but also cured illness and the plague. The republic of Plato: Conversation with Glaucon -song is composed of three elements-words musical mode, and rhythm. - p -The musical mode and the rhythm should accord with the words. -wailful modes - mixed Lydian and hyperlydian, are some other similar ones g -we must dismiss these, must we not? they are useless p -soft and convivial modes- there are Ionian and Lydian modes which are called slack g -then my friend, shall we use those for men who are warriors? - p -by no means, you seem to have left dorian and Phrygian left g -I do no know these modes, but leave us the mode which will fittingly imitate the tones and accents of a man who is brave in battle and in every difficult and dangerous task. another shall imitate a man in the actions of peace, where his choice as scope and he is free from compulsion p -these musical modes two in number, one of compulsion; the other of free will, which imitate in the fairest manner the tones of the unfortunate and the fortunate, of the prudent and the brave, these you may leave to us p -we shall not maintain the makers of harps and dulcimers, and of all instruments which are main-stringed and many-keyed. -p -After musical modes comes the canon of rhythm, according to which we must not aim at a variety of rhythms with all kinds of metrical feet, but must discover what are the rhythms of an orderly and brave life we must make our metre and our melody to suit the words describing such a life, and not make words to suit metre and melody p

-Damon warlike, complex, dactyl and heroic of a rhythm. Assigned them short and longs -goodness and badness of rhythm follow the diction. The good rhythm is assimilated to a beautiful style, and a bad rhythm to the opposite; and so with goodness and badness of music, since, as we said, rhythm and musical mode conform to words, not the words to them. p -we must speak to our poets and compel them to impress upon their poems only the image of the good, or not to make poetry in our city. p the purposes of musical education -is not musical education of paramount important for those reasons, because rhythm and harmony enter most powerfully into the inmost part of the soul and lay forcible hands upon it, bearing grace with them, so making graceful him who is rightly trained, and him who is not, the reverse? p -but does not true love really consist in loving in a temperate and musical spirit that which is orderly and beautiful? p -the lyre and the zither The enjoyment of music: 332 -Plato advised young people to develop skills in both gymnastics and music to they could be strong in war and express themselves through song. -thus music was woven into all aspects of greek life. It played a role in the ceremonial rites marriages, funerals, the harvest and it served as the focus of singing competitions. -Aristotle recognised the influence of musics harmonies on the soul. The oxford companion the music: ancient greek music -the pure phenomena of music attracted the interest of various early philosophical schools especially the Pythagoreans, who primarily viewed it as a paradigm for important truths found in its harmonious reflection of number-for them, the ultimate reality. The use of harmonious structure in actual individual pieces was of secondary interest, though they were concerned with its mimetic characteristics, which gave music its power in human life. -Plato followed the Pythagorean tradition in using music as a cosmological paradigm in his Timaeus, but he was also aware of its influence on behaviour and concerned himself in the republic and laws with such practical issues as the types of music to be allowed in an enlightened civilisation. -Aristotle was interested in the educational function of music and its role in the development of character, though his positions, differed somewhat from those of plato. Within aristotles scientific tradition, his disciple Aristoxenus developed a highly sophisticated system for analysing musical phenomena in a treatise under the title harmonic elements -aesthetics of music plato maintains (in republic, iii.12) that music, when properly applied, is an ethical force in education and for this purpose has to be closely controlled against innovations. At the root of his thinking lies the belief that music has a definite content which can be transmitted to the listeners. -Aristotle is less critical of music and recognises its various uses, from a pleasurable activity to a force producing a certain effect on the moral character of the soul (politics, viii. 5)

-analysis From the time of plato and aristotle, speculation about the effects of music as a spiritual and psychological force brought with it a consistent concern to explore the nature itself -Education- For plato, exercise and music were crucial for the development of young people. The person educated in music would be able to discriminate between the ugly and the beautiful in art and in nature, and rhythm and harmony are thought to enter the soul. bearing grace with them. Introduction to a philosophy of music Page 15- Aristotle was Platos great student. Music in Plato and Aristotles time was mainly vocal melody with words, accompanied by a stringed instrument such as the lyre. Whether the accompaniment was polyphonic, whether what is it consisted of noted other than those of the melody, seems doubtful. The accompanying instrument simply played more or less the same notes as the vocal melody. This is known as monody/monadic music. In platos view as expressed in Book III of the republic, that a melody composed in one mode would arouse in hearers emotions or states or character appropriate to that mode, melodies composed in another mode emotions or states of character appropriate to that one and so on. He thought for example that there was a mode (unknown) whose melodies could instill courage and warlike emotions in men. Further more he thought this was the result of that modes being an imitation or representation of the tones and accents, the cries and shouts apparently, of the brave, warlike men. In other words Plato can be taken to have claimed that in general melodies have the power to arouse emotions in listeners by imitating or representing the manner in which people express them in their speech and exclamations. -Aristotle too endorsed the notion of an intimate relation between music and the emotions. Indeed in his Politics book VIII, capter 5 he made the intriguing suggestion that music represents not the physical expression of human emotions but the human emotions themselves, and that mens souls move, emotively, in sympathy with these representations. -example page 39 melancholy music and melancholy speech and utterance have some obvious sound qualities in common. Melancholy people tend to express themselves in soft subdued tones of voice; and melancholy music tends to be soft and subdued. Melancholy people tend to speak slowly and haltingly; in melancholy music tends to be slow in tempi and halting rhythm. Melancholy peoples voices tend to sink and tend to remain in the low vocal register; and melancholy music too exhibits the same characteristics. -In contrast, cheerful people express themselves in bright, loud and something even raucous tones. Certainly not subdued. And cheerful music tends to be bright loud and in the high register. Cheerful people are not slow or halting in speech and utterance but bright and sprightly. -this perceived analogy between melody and speech is a leitmotif in writings about musical expression by plato. The cheerful melodic line, like the cheerful speaking voice is high, loud, fast running, and leaping. The anguished melody, like the anguished speaking voice, shrieks and cries, leaps in dissonant intervals, and proceeds in jerks with irregular pulses. -50 music represents or imitates the passionate speaking voice.

Powerpoint-laws of sound reflected human behaviour -advocated banning Lydian and Ionian from education -aristotle believed that music imitates the states of the soul -This ancient greek philosophy later carried on into latin philosophy -aristotle and plato articulated a doctrine of ethos which held that music had a profound effect on character and behaviour -they believed that music could imitate two general states of being peacefulness and excitement/enthusiasm.