 In Plato’s Phaedo, Socrates says a recurring dream instructs him to “compose music and work at it” and that he had always interpreted it to mean something like keep doing philosophy because “philosophy was the greatest kind of music and that’s what I was working at” (60e–61a). In prison awaiting execution, he says he experimented with new ways of doing philosophy; he tried turning some of Aesop’s fables into verse. We might view some of the deeply thoughtful, even loving, engagements with Socrates in music and dance in light of this passage. “Socrates” is the fifth movement of Leonard Bernstein’s Serenade after Plato’s Symposium (1954). He is the explicit inspiration for two works of choreography by Mark Morris, Death of Socrates in 1983, and Socrates in 2010, both of which work with 1919 compositions by Erik Satie that directly reference Socrates. And we have a work produced in 2022 at HERE in New York, The Hang, the stunning product of a collaboration by playwright Taylor Mac and composer Matt Ray.