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Recently, scholars have disagreed over how to understand the telos, or goal, of citizen life in Aristotle's Politics. In Book VII, Aristotle claims that philosophy is a virtue necessary for a life of leisure. But the sketch of the educational programme that we get in Book VIII does not include philosophy; it is focused almost entirely on music. This has led some scholars to argue that a life of leisure spent appreciating music and the other arts is the telos of citizen life. This paper argues that although we do not have a programme for philosophical education in the Politics Book VIII as we have it, the telos of citizen life is philosophical activity in its narrowest sense of theoria.

Preliminary Material -- Acknowledgements -- Introduction -- A Life in Music -- Early Views: Wittgenstein's Vienna Revisited -- Wittgenstein in Transit: A Critique of the Tradition -- Later Views: A New Era -- Wittgenstein and the Composers -- Breakdown of Tradition -- Philosophy, Music and Therapy -- Bibliography -- Index -- Appeared earlier in the series: STUDIEN ZUR ÖSTERREICHISCHEN PHILOSOPHIE.

In this Element, the author set out to answer a twofold question concerning the importance of music to Wittgenstein's philosophical progression and the otherness of this sort of philosophical importance vis-à-vis philosophy of music as practiced today in the analytic tradition. The author starts with the idea of making music together and with Wittgenstein's master simile of language-as-music. The author traces these themes as they play out in Wittgenstein early, middle, and later periods. The author argues that Wittgenstein's overarching reorientation of the concept of depth pertaining to music in the aftermath of his anthropological turn, and against the backdrop of the outlook of German Romanticism, culminates in his unique view of musical profundity as 'knowledge of people.' This sets Wittgenstein's view in sharp contrast with certain convictions and debates that typify current analytically inclined philosophy of music.

Since childhood, children have been drawn to the aesthetics of music. In the current exploratory study, we investigate the relationship between age, gender, and music education in terms of the perception of music preferences and musical emotions, which are two fundamental aspects of the aesthetic experience of music, using the children of teachers. I utilized the sectional design. We have established an experimental method for addressing particular children's musical interests and tendencies to do this. Melodic emotions and style are highly regarded. The melody consisted of three brief piano pieces: a significant piece, a minor piece, and a freetone piece. This article describes the "Reasoning of Music Education" or "Philosophy of Music Education" field (MEP). Method of music instruction is a relatively young field, and many music educators are unaware of its existence, as well as its inclination and value. In North America and most other nations, specialized MEP courses are not currently common in undergraduate and graduate curricula. The most surprising aspect of music is the variety of human advancements and individuals that create, utilize, evaluate, teach, learn, and invent "music" items, cycles, encounters, etc. Similarly, billions of people have invested a great deal of time, effort, thought, emotion, money, and in some cases, their lives creating specific sounds and related activities. I also acknowledge that it has been completed. Although music is an important and visible component of human civilisation, certain types of "music" sounds are created and listened to fulfill basic survival demands. Infrequent (if not entirely bizarre) compared to the enormous effort we exert. As many have noted, music does not appear biologically essential, yet it permeates all cultures.

The purpose of this work is to reveal the natural principle of the precedence of the philosophy of music in music science, which removed musical aesthetics with its basis of the traditional philosophical and rationalist system of Cartesianism. 'Culturologisation' of modern musicology testifies to the absorption of non-logical properties of associative knowledge, which, according to Yu. Krysteva, is no longer rejected by science, being called the 'hermeneutic-interpretive' meaning of the object of the study. The methodological basis of the research is the intonation approach of the B. Asafiev school in Ukraine, as it was in the works of O. Zosim, O. Markova, O. Muravska, O. Kozarenko, Liu Bingjian, O. Roschenko with an emphasis on hermeneutic and stylistic-comparative analytical search engine. The scientific novelty of the work is due to the theoretical primacy in the musicology of Ukraine of the statement of the philosophy of music as a substitute for the sphere of musical aesthetics, which has prevailed since the 18th century, as a "speculative theory of music" relative to the traditional core of musicology, the theory and history of music. Conclusions. The movement of musical aesthetics into the bosom of the philosophy of music was carried out by the displacement, following practice, in musical science of the theatrical-secularised expression of general aesthetic antitheses in favor of the all-encompassing lyric as a specifically musical embodiment of beauty, and the dramatic and the comic appear in the degrees of incompleteness of the lyric presentation, which delimits the "aesthetic-sensual" in the musical sense. The focus of musical expressiveness on the aestheticism of the beautiful and lyrical in this approach generalises, despite its direct ecclesiasticism, the experience of spiritual music, for which the beauty of the lyrical, in the syncresis of the suprapersonal and personal, expression (compare with the "spiritual beauty" of music in Mikhail Psellus, 11th century) displaces meaningful antitheses, which theoretically coincides with the symbolism of Pythagoreanism-Neoplatonism in the philosophical-mental understanding of music as a touch to the Eternal.
Key words: musical aesthetics, philosophy of music, traditional musicology, modern culture-oriented musicology, genesis of music science.

Svrha ovoga rada je ustanoviti temeljni razlog Platonove izjave da je filozofija najveća muzika. Smatrajući da je glavni uzrok pretpostavljenoj nejasnoći te tvrdnje drugačije poimanje muzike i filozofije kod Platona u odnosu na današnje, autor najprije izlaže izvorni grčki pojam muzike uspoređujući ga sa suvremenim. U drugom dijelu istražuje Platonov odnos prema muzici, ispitujući kakvu joj je ulogu dodijelio u svojoj filozofiji. Pokazuje se kako je uvriježena predodžba o Platonovu omalovažavanju pjesništva pogrešna. Svoje viđenje slo­ženijeg i pozitivnijeg Platonova odnosa prema muzici autor povezuje s njegovim političkim favoriziranjem frigijskog modusa, otkrivajući u tome slabo zapažen dionizijski aspekt kod Platona. Zaključuje se da tek uz brižljivu kulturološku kontekstualizaciju grčke filozofije postaje jasno zašto je ona za Platona bila najveća muzika. ; The purpose of this paper is to establish a fundamental reason for Plato's claim that philosophy is the greatest music. Holding that the main reason for its supposed unclearness is in fact a discrepancy in understanding of music and philosophy in Plato in respect to modern meaning, author firstly elaborates on the original Greek notion on music and compares it with the contemporary one. In the second part of the paper, author explored Plato's relationship with music, examining what role did he give to the music in his philosophy. It turns out that the traditional view of Plato's negative attitude towards music is false. Author provides a reader with a more complex analysis of the problem and offers a positive view on music in respect to Plato, which he then links to Plato's political preference of Phrygian mode, pointing towards rarely observed Dionysian aspect in Plato's thought. Only a proper cultural contextualization of Greek philosophy can get us closer to understanding why, for Plato, philosophy was greatest kind of music.

Philosophy and the poetic essence of thought -- Philology and aphoristic style : rhetoric, sources, and writing in blood -- The birth of tragedy : lyric poetry and the music of words -- Nietzsche's Gay science : poetry and love, science and music -- Pindar's becoming : translating the imperatives of praise -- Philosophy as music -- Songs of the sun : Hölderlin in Venice -- Nietzsche and Hölderlin : on pain and tragic joy -- Nietzsche's erotic artist as actor, Jew, woman -- Chaos and culture -- Nature and art : Hölderlin's ecological politics -- The work of art and the museum : Heidegger, Schapiro, Gadamer -- The ethical alpha and Heidegger's linguistic omega : on the inner affinity between Germany and Greece -- Heidegger's Beiträge as will to power.