The Ancient Customs of the Spartans (16-18)

Moreover the rhythmic movement of their marching songs was such as to excite courage and boldness, and contempt for death; and these they used both in dancing, and also to the accompaniment of the flute when advancing upon the enemy. In fact, Lycurgus coupled fondness for music with military drill, so that the over-assertive warlike spirit, by being combined with melody, might have concord and harmony. It was for this reason that in time of battle the king offered sacrifice to the Muses before the conflict, so that those who fought should make their deeds worthy to be told and to be remembered with honour.[*]

If anyone presumed to transgress in any way the rules of the good old music, they would not permit this; but even Terpander, one of the oldest and the best harp-player of his time as well as a devoted admirer of the deeds of heroes, the Ephors none the less fined, and carried away his instrument and nailed it to a wall because he put in just one extra string for the sake of the variety in the notes; for they approved only the simpler melodies. Moreover, when Timotheus was competing at the Carneian Festival, one of the Ephors took a knife, and asked him on which side he should cut out the superfluous strings beyond the usual seven.[*]

Lycurgus did away with all superstitious fear connected with burials, granting the right to bury the dead within the city, and to have the tombs near the shrines. He also abolished the pollutions associated with death and burial. He permitted the people to bury nothing with their dead, but only to enfold the body in a red robe and olive leaves, and all to treat their dead alike. He also did away with the inscriptions on tombs, except of those who had met their end in war, and also did away with mourning and lamentation.[*]