Philosophy

Early Greek Philosophers

Prehistoric philosophers considered music the highest expression of the divine. Music was discussed in the abstract, since written notation did not mature until the 14th or 15th century. Thus, before detailed and common notation, music was realized in live performance only, and was transmitted as an oral tradition, with melodies and patterns passed on from generation to generation. Philosophies and theories about music could only be memorialized in treatises and documents, without the benefit of recorded samplings. Further, words are not adequate to represent, encompass, or symbolize the musical experience.

The Greek philosopher and mathematician Pythagoras first recognized that the pitch of a musical note is in proportion to the length of the string that produces it. Further, he found that intervals between harmonious sound frequencies could be measured by simple numerical ratios. He named these intervals the “harmony of the spheres,” claiming that music had metaphysical roots, and that these intervals were in alignment with the heavens. Subsequent to the belief that music had its origins in the divine, there was also the assumption that music was endowed with powers that needed to be respected, feared, and controlled, lest it pose risks for individuals and societies.

Confucius claimed that music was the highest form of moral righteousness and ethical values. However, he also put forth a warning of the damage that could be done by being exposed to immoral or bad music. He embedded music inside the context of ritual, and claimed that its essence was “humaneness.” Confucius idealized [Page 858]the trilogy of poetry, ritual, and music, and taught that music embodied morality in its very essence.

Plato, followed by Aristotle, believed that music had powers to influence social and political stability. Plato felt that all the arts were grounded in imitation, that an uncontrolled or uncensored copy could lead one astray. Thus, all the arts, including and perhaps prioritizing music, were carefully controlled and censored prior to exposing to the public. Aristotle also felt strongly about the risks associated with music, but still called for selected music to be integrated into education. These conditional and prescriptive relationships with music characterized the ongoing philosophical dilemmas.

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