Akademik Veri Yönetim Sistemi
DINBILIMLERI AKADEMIK ARASTIRMA DERGISI-JOURNAL OF ACADEMIC RESEARCH IN RELIGIOUS SCIENCES, cilt.23, sa.1, ss.111-128, 2023 (ESCI)
The relationship between philosophy and music has gained different views throughout the history of philosophy. The question of how these two modes of existence, one of which is irreducible to the other, is in a relationship has always maintained its importance due to the variability in this relationship itself. Therefore, this question, like all other philosophical questions, does not have a character that can be resolved in favor of the views of a particular philosophical school or philosopher. Instead, it has to be a question that allows for different answers as perspectives from different periods in the history of philosophy are uncovered. The tradition of metaphysical philosophy, one of these perspectives, has tried to establish power over many modes of existence based on the assumption that existence can only be understood through a priori principles or mathematical certainties in mind. At this point, a question that is critical to this power almost automatically emerges: How could philosophy claim that its philosophical effort encompasses music, despite the fact that the way of existence of music transcends this effort? Moreover, if this pretentious claim of philosophy turns into a self-fulfilling prophecy, is there an action called philosophy? When we look at Ancient Greek philosophy, one of the perspectives that construct the relationship between philosophy and music, it can be said that the relationship between music and philosophy is based on a vertical way of thinking. More clearly, music has been tried to be interpreted in the context of philosophical cosmos doctrines. The most obvious place to see this situation is the philosophy of Pythagoras. In the sense of manifesting a higher reality in a lower dimension, Pythagoras' approach to music from a hierarchical point of view caused him to connect music to mathematics, which is a purely mental activity. So, the first scientific approach to music in this sense belongs to Pythagoras. The ancient doctrines of Pythagoras strongly influenced Plato's musical ideas. However, although he was influenced, it can be said that Plato developed a musical understanding that differed from Pythagoras. In Plato, music is a dangerous mode of being for philosophy. For this reason, Plato argues that music should be controlled just like poetry. One of the strategic weapons Plato uses in his struggle to control the influence of music is tradition. According to him, traditional music is purer, and its meanings are more precise and uncontaminated. Thus, it can be said that for Plato, too, the relationship between music and philosophy was handled following the vertical thinking style, which is the general characteristic of Ancient Greek metaphysical philosophy. When Plato's approach to music and Pythagoras' understanding of music are compared, it is seen that the most fundamental difference can be expressed in the concept of political concern. While Pythagoras affirmed the music without political concerns, the same cannot be said for Plato. Plato, whose whole philosophy can be read as a political philosophy, also approached music with a political concern. Thus, contrary to the absolute affirmation of Pythagoras, for Plato, music can be affirmed to the extent that it serves the functioning of the State. This is the reason why Plato brought the pedagogical aspect of music to the fore. It can be said that Plato, who approaches music conditionally, and his student Aristotle's views on music are close.