The Complete Aristotle (eng.)

because it made the face
ugly; but with still more reason may we say that she rejected it
because the acquirement of flute-playing contributes nothing to the
mind, since to Athene we ascribe both knowledge and art.
    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.
    We accept the division of melodies proposed by certain
philosophers into ethical melodies, melodies of action, and
passionate or inspiring melodies, each having, as they say, a mode
corresponding to it. But we maintain further that music should be
studied, not for the sake of one, but of many benefits, that is to
say, with a view to (1) education, (2) purgation (the word
‘purgation’ we use at present without explanation, but when
hereafter we speak of poetry, we will treat the subject with more
precision); music may also serve (3) for for enjoyment, for
relaxation, and for recreation after exertion. It is clear,
therefore, that all the modes must be employed by us, but not all
of them in the same manner. In education the most ethical modes are
to be preferred, but in listening to the performances of others we
may admit the modes of action and passion also. For feelings such
as pity and fear, or, again, enthusiasm, exist very strongly in
some souls, and have more or less influence over all. Some persons
fall into a religious frenzy, whom we see as a result of the sacred
melodies—when they have used the melodies that excite the soul to
mystic frenzy—restored as though they had found healing and
purgation. Those who are influenced by pity or fear, and every
emotional nature, must have a like experience, and others in so far
as each is susceptible to such emotions, and all are in a manner
purged and their souls lightened and delighted. The purgative
melodies likewise give an innocent pleasure to mankind. Such are
the modes and the melodies in which those who perform music at the
theater should be invited to compete. But since the spectators are
of two kinds—the one free and educated, and the other a vulgar
crowd composed of mechanics, laborers, and the like—there ought to
be contests and exhibitions instituted for the relaxation of the
second class also. And the music will correspond to their minds;
for as their minds are perverted from the natural state, so there
are perverted modes and highly strung and unnaturally colored
melodies. A man receives pleasure from what is natural to him, and
therefore professional musicians may be allowed to practice this
lower sort of music before an audience of a lower type. But, for
the purposes of education, as I have already said, those modes and
melodies should be employed which are ethical, such as the Dorian,
as we said before; though we may include any others which are
approved by philosophers who have had a musical education. The
Socrates of the Republic is wrong in retaining only the Phrygian
mode along with the Dorian, and the more so because he rejects the
flute; for the Phrygian is to the modes what the flute is to
musical instruments—both of them