In this selection, Boethius argues, following Plato, that human beings are naturally attracted to music, which gives it the potential to produce both great good and great evil. Music that is orderly and harmonious can help people to be more logical and prudent, while music that is chaotic and violent can lead people toward immoral thoughts and behavior. Because music has the potential to exercise great influence on its listeners, those in the church and the government responsible for protecting the morals of the people must pay close attention to the kinds of music promoted and made available by the state.
Throughout this reading, Boethius uses historical narratives and analogies to illustrate his claims, investing them with the authority of ancient Greek philosophers such as Pythagoras, Empedocles, and Plato.
An ability to perceive through the senses is so spontaneously and naturally present in certain living creatures that an animal without senses cannot be imagined. But a knowledge and clear perception of these senses themselves is not so easily acquired, even with an investigation of the mind. It is obvious that we use our senses in perceiving sensible objects. But what is the exact nature of these senses in connection with which we carry out our actions? And what is the actual property of these objects sensed? The answers to these questions are not so obvious; and they cannot become clear to anyone unless the contemplation of these things is guided by a comprehensive investigation of reality.
Now sight is present in all mortals. But whether we see by images coming to the eye or by rays sent out from the eye to the object seen, this problem is in doubt to the learned,[115] although the common man is not conscious of doubt. Again if someone sees a triangle or square, he can easily identify it by sight. But what is the essence of a triangle or a square? This he must learn from a mathematician.
The same thing can be said of the other senses, especially concerning aural perception. For the sense of hearing can apprehend sounds in such a way that it not only judges them and recognizes their differences, but it very often takes pleasure in them if they are in the form of sweet and well-ordered modes, whereas it finds displeasure if the sounds heard are unordered and incoherent. Thus it follows that, since there are four mathematical disciplines,2 the others are concerned with the investigation of truth, whereas music is related not only to speculation but to morality as well. For nothing is more consistent with human nature than to be soothed by sweet modes and disturbed by their opposites. And this affective quality of music is not peculiar to certain professions or ages, but it is common to all professions; and infants, youths and old people as well are so naturally attuned to the musical modes by a certain spontaneous affection that there is no age at all that is not delighted by sweet song. Thus we can begin to understand that apt doctrine of Plato which holds that the soul of the universe is united by a musical concord.3 For when we compare that which is coherently and harmoniously joined together in sound—that is, that which gives us pleasure—so we come to recognize that we ourselves are united according to this same principle of similarity. For similarity is pleasing, whereas dissimilarity is unpleasant and contrary.
Four mathematical disciplines: The ancient Greeks divided mathematics into four sub-fields— arithmetic, geometry, astronomy, and music. Music was considered mathematical because it was governed by observable, quantifiable laws of harmony.
A musical concord: In his dialogue " Timaeus," Plato argued that the universe was modelled on the same principles of harmony and balance that form the basis of musical compositions.
From this same principle radical changes in one's character also occur. A lascivious mind takes pleasure in the more lascivious modes or is often softened and moved upon hearing them. On the other hand, a more violent mind finds pleasure in the more exciting modes or will become excited when it hears them. This is the reason that the musical modes were named after certain peoples, such as the "Lydian" mode, and the "Thrygian"[116] mode; for the modes are named after the people that find pleasure in them. A people will find pleasure in a mode resembling its own character, and thus a sensitive people cannot be united by or find pleasure in a severe mode, nor a severe people in a sensitive mode. But, as has been said, similarity causes love and pleasure. Thus Plato held that we should be extremely cautious in this matter, lest some change in music of good moral character should occur. He also said that there is no greater ruin for the morals of a community than the gradual perversion of a prudent and modest music. For the minds of those hearing the perverted music immediately submit to it, little by little depart from their character, and retain no vestige of justice or honesty. This will occur if either the lascivious modes bring something immodest into the minds of the people or if the more violent modes implant something warlike and savage.
For there is no greater path whereby instruction comes to the mind than through 5 the ear. Therefore when rhythms and modes enter the mind by this path, there can be no doubt that they affect and remold the mind into their own character. This fact can be recognized in various peoples. For those peoples which have a more violent nature delight in the more severe modes of the Thracians.[117] Gentler peoples, on the other hand, delight in more moderate modes, although in these times this almost never occurs. Indeed today the human race is lascivious and effeminate, and thus it is entertained totally by the representational and theatrical modes. Music was prudent and modest when it was performed on simple instruments; but since it has come to be performed in various ways with many changes, it has lost its mode of gravity and virtue, and having almost fallen into a state of disgrace, it preserves almost nothing of its ancient splendor. For this reason Plato prescribed that boys must not be trained in all modes but only in those which are vigorous and simple. Moreover, it should be especially remembered that if some melody or mode is altered in some way, even if this alteration is only the slightest change, the fresh change will not be immediately noticed; but after some time it will cause a great difference and will sink down through the ears into the soul itself. Thus Plato held that the state ought to see that only music of the highest moral character and prudence be composed, and that it should be modest, simple and masculine, rather than effeminate, violent or fickle. . . .
times and places than others. The ancient Greek Lydian mode used a modern major scale, and the Phrygian mode used a modern minor scale. 5. Thracians: the non-Greek tribes to the northeast of ancient Greece, roughly in present- day Bulgaria.
It is common knowledge that song has calmed rages many times and that it has often worked wonders on affections of either the body or the spirit. For who does not know that Pythagoras[118] calmed a drunk adolescent of Taormine who had become incited under the influence of the Phrygian mode, and that Pythagoras further restored this boy to his rightful senses, all by means of a spondaic melody?[119]For one night this frenzied youth was about to set fire to the house of a rival who had locked himself in the house with a whore. Now that same night Pythagoras was out contemplating the course of the heavens, as was his usual custom. When he learned that this youth under the influence of the Phrygian mode would not be stopped from his crime, even by the admonitions of his friends, he ordered that the mode be changed; and thus Pythagoras restored the frenzied mind of the boy to a state of absolute calm. . . .