This essay will open with several important quotes from The Laws by Plato, for example: “It is least acceptable when someone asserts that music should be judged by pleasure. If there should exist somewhere such a music, it should be sought as the least acceptable; what should be sought as serious is music that contains a resemblance to the imitation of the beautiful 1 ”. There is another very interesting quote related to the definition of good music, namely, the Athenian stranger points out that the best music is the one that “pleases the man who is distinguished in virtue and education” 2 . These passages represent some of the Plato’s views on music, its evaluation, as well as importance for the city. Moreover, they can give us a good idea about Plato’s understanding of musical education. First, one should say that this philosophical dialogue places emphasis on the importance of music for the development of a person. The Athenian stranger acknowledges that a person, “who is finely educated will be able to sing and dance” 3 . These skills have to be among the attributes of a person. Nonetheless, the main function of musical education is to channel or control the passions of an individual who must act a responsible citizen of the state. This is one of the reasons this text frequently makes connections between music and virtue. This discussion presented by Plato focuses on the effects of music on an individual, rather then skills. Furthermore, this philosophical work does not accept purely aesthetical view on art, and pleasure, which a person derives from it, is not the main criterion. Musical education must not focus only on performing skills; more likely, its purpose is to teach people to understand harmony and subsequently become harmonious. In this context, such term as harmony can be interpreted as the agreement of opinion, action, and feeling. Hence, one can argue that music cannot be separated from moral education. This is one of the most important claims made in this dialogue. Nevertheless, this text does not identify the specific strategies of achieving the goals set by the author. Moreover, such utilitarian interpretation of music may not be accepted by modern educators and musicians. Certainly, Plato’s dialogue does not focus only the music; however, this art occupies a very important place in this work. The second important aspect is the selection of music which is suitable for young people. The first quote presented in this essay can tell us much about the Plato’s views on musical education. This statement implies that the educators have to develop methods of assessing this art and decide what kind of music can be accepted or rejected. Judging from this dialogue, the selection of musical pieces must be entrusted to more or less elderly people who have achieved a significant status in the community and whose moral reputation cannot be questioned. This argument has very significant implications for musical education since it implies that not every kind of music is appropriate for educational purposes. The dialogue does not explain how these assessors of music will be trained and selected. Although, it is not explicitly stated by the author, this dialogue suggests m