Chapter 6

We will now determine whether it is proper that children should be taught to sing, and play upon any instrument, which we have before made a matter of doubt. Now, it is well known that it makes a great deal of difference when you would qualify any one in any art, for the person himself to learn the practical part of it; for it is a thing very difficult, if not impossible, for a man to be a good judge of what he himself cannot do. It is also very necessary that children should have some employment which will amuse them; for which reason the rattle of Archytas seems well contrived, which they give children to play with, to prevent their breaking those things which are about the house; for at their age they cannot sit still: this therefore is well adapted to infants, as instruction ought to be their rattle as they grow up; hence it is evident that they should be so taught music as to be able to practise it. Nor is it difficult to say what is becoming or unbecoming of their age, or to answer the objections which some make to this employment as mean and low. In the first place, it is necessary for them to practise, that they may be judges of the art: for which reason this should be done when they are young; but when they are grown older the practical part may be dropped; while they will still continue judges of what is excellent in the art, and take a proper pleasure therein, from the knowledge they acquired of it in their youth. As to the censure which some persons throw upon music, as something mean and low, it is not difficult to answer that, if we will but consider how far we propose those who are to be educated so as to become good citizens should be instructed in this art, [1341a] and what music and what rhythms they should be acquainted with; and also what instruments they should play upon; for in these there is probably a difference. Such then is the proper answer to that censure: for it must be admitted, that in some cases nothing can prevent music being attended, to a certain degree, with the bad effects which are ascribed to it; it is therefore clear that the learning of it should never prevent the business of riper years; nor render the body effeminate, and unfit for the business of war or the state; but it should be practised by the young, judged of by the old. That children may learn music properly, it is necessary that they should not be employed in those parts of it which are the objects of dispute between the masters in that science; nor should they perform such pieces as are wondered at from the difficulty of their execution; and which, from being first exhibited in the public games, are now become a part of education; but let them learn so much of it as to be able to receive proper pleasure from excellent music and rhythms; and not that only which music must make all animals feel, and also slaves and boys, but more. It is therefore plain what instruments they should use; thus, they should never be taught to play upon the flute, or any other instrument which requires great skill, as the harp or the like, but on such as will make them good judges of music, or any other instruction: besides, the flute is not a moral instrument, but rather one that will inflame the passions, and is therefore rather to be used when the soul is to be animated than when instruction is intended. Let me add also, that there is something therein which is quite contrary to what education requires; as the player on the flute is prevented from speaking: for which reason our forefathers very properly forbade the use of it to youth and freemen, though they themselves at first used it; for when their riches procured them greater leisure, they grew more animated in the cause of virtue; and both before and after the Median war their noble actions so exalted their minds that they attended to every part of education; selecting no one in particular, but endeavouring to collect the whole: for which reason they introduced the flute also, as one of the instruments they were to learn to play on. At Lacedaemon the choregus himself played on the flute; and it was so common at Athens that almost every freeman understood it, as is evident from the tablet which Thrasippus dedicated when he was choregus; but afterwards they rejected it as dangerous; having become better judges of what tended to promote virtue and what did not. For the same reason many of the ancient instruments were thrown aside, as the dulcimer and the lyre; as also those which were to inspire those who played on them with pleasure, and which required a nice finger and great skill to play well on. What the ancients tell us, by way of fable, of the flute is indeed very rational; namely, that after Minerva had found it, she threw it away: nor are they wrong who say that the goddess disliked it for deforming the face of him who played thereon: not but that it is more probable that she rejected it as the knowledge thereof contributed nothing to the improvement of the mind. Now, we regard Minerva as the inventress of arts and sciences. As we disapprove of a child's being taught to understand instruments, and to play like a master (which we would have confined to those who are candidates for the prize in that science; for they play not to improve themselves in virtue, but to please those who hear them, and gratify their importunity); therefore we think the practice of it unfit for freemen; but then it should be confined to those who are paid for doing it; for it usually gives people sordid notions, for the end they have in view is bad: for the impertinent spectator is accustomed to make them change their music; so that the artists who attend to him regulate their bodies according to his motions.

We will now decide whether children should learn to sing and play an instrument. We previously left this question open. When training someone in any art, practical experience makes a great difference. It is very difficult, if not impossible, to judge something well without being able to do it yourself. Children also need something to keep them amused. For this reason, the rattle of Archytas seems well designed. Children are given the rattle to prevent them from breaking things around the house, since children cannot sit still. The rattle therefore suits infants, and learning should serve as their rattle as they grow older. Clearly, then, children should learn music through practice. It is not difficult to explain what musical activities suit their age and what activities do not. Nor is it difficult to answer those who call musical practice low and degrading. First, children must practice music so that they can judge the art. They should therefore practice while young, but may stop performing when they grow older. Their early knowledge will still allow them to recognize excellence in music and take proper pleasure in it. We can also answer those who call music low and degrading by considering the limits of musical education. How much should future good citizens learn of this art, [1341a] and what music and rhythms should they know? We must also consider what instruments they should play, since the choice of instruments probably makes a difference. These distinctions provide the proper answer to that criticism. We must admit that, in some cases, music inevitably produces some of the harmful effects attributed to it. Clearly, then, learning music must never interfere with the duties of adulthood. Nor should musical training make the body effeminate and unfit for war or public service. The young should practice music, while the old should judge it. To learn music properly, children should not study the aspects disputed among musical masters. Nor should children perform pieces admired for their difficulty. Such pieces first appeared at public games and have now become part of education. Instead, children should learn enough to take proper pleasure in excellent music and rhythms. Their pleasure should go beyond what music necessarily makes all animals feel, as well as slaves and boys. The choice of instruments is therefore clear. Children should never learn the flute or any other instrument requiring great skill, such as the harp or similar instruments. Instead, children should learn instruments that develop sound judgment in music or other learning. Besides, the flute does not develop moral character but instead inflames the passions. The flute is therefore better suited to stirring the soul than to instruction. Another feature of the flute conflicts with the requirements of education: playing the flute prevents speech. For this reason, our ancestors rightly banned its use among the young and freemen, although they initially played it themselves. As their wealth brought greater leisure, our ancestors became more eager to pursue virtue. Their noble deeds, both before and after the Median war, raised their ambitions. They turned to every part of education, choosing no single subject but trying to embrace them all. For this reason, they included the flute among the instruments they learned. At Lacedaemon, the choregus himself played the flute. At Athens, flute playing was so common that almost every freeman knew how to play. The tablet dedicated by Thrasippus when he was choregus provides evidence of this. Later, however, they rejected the flute as dangerous. They had become better judges of what promoted virtue and what did not. For the same reason, many ancient instruments were abandoned, including the dulcimer and the lyre. Instruments intended to give their players pleasure were also abandoned, along with those requiring delicate fingering and great skill. The ancient fable about the flute is quite reasonable. The story says that Minerva discovered the flute and then threw it away. Those who say the goddess disliked the flute because playing distorted the player's face are not wrong. But she more probably rejected the flute because knowing how to play contributed nothing to developing the mind. We regard Minerva as the inventor of the arts and sciences. We disapprove of teaching a child expert knowledge of instruments and the skills of a master performer. We would reserve such training for those competing for musical prizes. These performers play not to improve their own virtue, but to please their listeners and satisfy their insistent demands. We therefore consider such performance unsuitable for freemen. It should instead be limited to paid performers, since such work usually encourages degrading attitudes. The goal these performers pursue is bad. The intrusive spectator habitually makes performers change their music. Artists who cater to such spectators even adapt their bodily movements to the spectators' movements.