In the classical age music was viewed as communicating emotion and having the power to shape the moral sense.
To Plato and Aristotle, rhythm and melody were meritorious in education and entertainment as influencing listeners' dispositions in ways compatible with order and harmony. To their way of thinking, these elements, as external influences, could also be detrimental to character if reflecting negative or extreme emotions and attitudes. This is typical of an Aristotelian viewpoint in which a proposition is framed in "either/or" terms that may exclude divergent concepts.
Beyond this paradigm music may be viewed as design in sound; it may be produced by elements other than rhythm, melody, and harmony. As an atmospheric setting or environmental envelope of tones and textures, it may be created for different aesthetic and contemplative purposes and effects altogether.
There need be no limits beyond those set for a purpose.
To Plato and Aristotle, rhythm and melody were meritorious in education and entertainment as influencing listeners' dispositions in ways compatible with order and harmony. To their way of thinking, these elements, as external influences, could also be detrimental to character if reflecting negative or extreme emotions and attitudes. This is typical of an Aristotelian viewpoint in which a proposition is framed in "either/or" terms that may exclude divergent concepts.
Beyond this paradigm music may be viewed as design in sound; it may be produced by elements other than rhythm, melody, and harmony. As an atmospheric setting or environmental envelope of tones and textures, it may be created for different aesthetic and contemplative purposes and effects altogether.
There need be no limits beyond those set for a purpose.
