The aim of this thesis is to analyse Diogenes of Babylon's musico-ethical theories, to
place them into their historical context, and to examine the possible influences on his
thought. Earlier treatments of this Stoic's work have been hampered by the lacunose
state of Philodemus' surviving text, the major source, and in some cases an opponent's
views have been mistakenly attributed to Diogenes. Conversely, the state of the text
together with erroneous column numbering, have resulted in part of Diogenes'
philosophy being ascribed to his Epicurean opponent.
Taking Professor Delattre's recently reconstructed edition of Philodemus’ De
musica as my starting point, I attempt to more fully analyse Diogenes' theory of music
and ethics. Following a short introductory chapter, I briefly examine Diogenes' other
interests, analyse his psychology compared with that of earlier Stoics, and examine
how that fits into Diogenes' view on music in education.
I outline Diogenes' general view on music, and compare the musical writings
of Plato, Aristotle and the early Peripatetics with those of Diogenes, particularly in
relation to education, and outline areas that might have influenced the Stoic. I also
look at later writings where they can be seen as evidence for Diogenes' work. An
examination of views on poetry as reported by Philodemus elucidates Diogenes' claim
that the mousikoi of music were analogous to the kritikoi for poetry.
In the thesis as a whole, I argue that far from having a radical musical theory,
Diogenes fitted easily into the traditional musico-historical context, but developed a
more technical approach than those before him.
In addition to arguing for Diogenes' orthodoxy, I suggest that Philodemus had
two motives in writing this polemical work. In refuting the Stoic's claims regarding
music, he also vigorously defends the Epicurean school against accusations of
ignorance