Institutio Oratoria
Quintilian
Quintilian. Institutio Oratoria, Volume 1-4. Butler, Harold Edgeworth, translator. Cambridge, Mass; London: Harvard University Press, William Heinemann Ltd., 1920-1922.
From the importance thus given to music also originated the custom of taking a lyre round the company after dinner, and when on such an occasion Themistocles confessed that he could not play, his education was (to quote the words of Cicero)
regarded as imperfect.[*](Tusc. Disp. I. ii. 4. )
Even at the banquets of our own forefathers it was the custom to introduce the pipe and lyre, and even the hymn of the Salii has its tune. These practices were instituted by King Numa and clearly prove that not even those whom we regard as rude warriors, neglected the study of music, at least in so far as the resources of that age allowed.
Finally there was actually a proverb among the Greeks,
But let us discuss the advantages which our future orator may reasonably expect to derive from the study of Music. Music has two modes of expression in the voice and in the body; [*](Music includes dancing.) for both voice and body require to be controlled by appropriate rules. Aristoxenus divides music, in so far as it concerns the voice, into rhythm and melody, the one consisting in measure, the latter in sound and song. Now I ask you whether it is not absolutely necessary for the orator to be acquainted with all these methods of expression which are concerned firstly with gesture, secondly with the arrangement of words and thirdly with the inflexions of the voice, of which a great variety are required in pleading.
Otherwise we must assume that structure and the euphonious combination of sounds are necessary only for poetry, lyric and otherwise, but superfluous in pleading, or that unlike music, oratory has no interest in the variation of arrangement and sound to suit the demands of the case.