How we describe pop music proves that we find moral significance in music. How do we tell what music we should and should not encourage?
“The ways of poetry and music are not changed anywhere without change in the most important laws of the city.” So wrote Plato in The Republic (4.424c). And Plato is famous for having given what is perhaps the first theory of character in music, proposing to allow some modes and to forbid others according to the character which can be heard in them. Plato deployed the concept of mimesis, or imitation, to explain why bad character in music encourages bad character in its devotees. The context suggests that he had singing, dancing, and marching in mind rather than the silent listening that we know from the concert hall. But, however we fill out the details, there is no doubt that music, for Plato, was something that could be judged in the same moral terms we judge one another, and that the terms in question denoted virtues and vices like nobility, dignity, temperance, and chastity on the one hand, and sensuality, belligerence, and indiscipline on the other.
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