Thus then we reject the professional instruments and also the
professional mode of education in music (and by professional we mean
that which is adopted in contests), for in this the performer
practices the art, not for the sake of his own improvement, but in
order to give pleasure, and that of a vulgar sort, to his hearers. For
this reason the execution of such music is not the part of a freeman
but of a paid performer, and the result is that the performers are
vulgarized, for the end at which they aim is bad. The vulgarity of the
spectator tends to lower the character of the music and therefore of
the performers; they look to him- he makes them what they are, and
fashions even their bodies by the movements which he expects them to
exhibit.
VII
We have also to consider rhythms and modes, and their use in
education. Shall we use them all or make a distinction? and shall
the same distinction be made for those who practice music with a
view to education, or shall it be some other? Now we see that music is
produced by melody and rhythm, and we ought to know what influence
these have respectively on education, and whether we should prefer
excellence in melody or excellence in rhythm. But as the subject has
been very well treated by many musicians of the present day, and
also by philosophers who have had considerable experience of musical
education, to these we would refer the more exact student of the
subject; we shall only speak of it now after the manner of the
legislator, stating the general principles.
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