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.
CHAPTER VII
We are now to enter into an inquiry concerning harmony and rhythm;
whether all sorts of these are to be employed in education, or whether
some peculiar ones are to be selected; and also whether we should give
the same directions to those who are engaged in music as part of
education, or whether there is something different from these two.
Now, as all music consists in melody and rhythm, we ought not to be
unacquainted with the power which each of these has in education; and
whether we should rather choose music in which melody prevails, or
rhythm: but when I consider how many things have been well written
upon these subjects, not only by some musicians of the present age,
but also by some philosophers who are perfectly skilled in that part
of music which belongs to education; we will refer those who desire a
very particular knowledge therein to those writers, and shall only
treat of it in general terms, without descending to particulars.
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