Our main business is with Aryan music after it came under the influence of Egyptian culture, but it may interest my readers to flash, for a moment, the light of analogy back upon its earlier period. We have found the early Aryans less learned than the Egyptian scholar class, but also less superstitious and less pedantic. They were normal human beings in their occupations, susceptibilities, and social life. With such a picture in view it is quite natural for our imaginations to hear its complement in expressive sounds,--peaceful lullabies, songs of praise and love, and sonorous rejoicings. In remote times the region which is supposed to have been the original home of the Aryans must have been fertile, for early poets were enthusiastic in describing its charms. The climatic changes that made the soil arid as it is to-day may have suggested, or may even have necessitated, migration; still, what condition or combination of conditions induced the Aryans to abandon Central Asia can never be positively known; but it is certain that they, like irresistible tidal waves, rolled westward and southward, destroying, carrying before them, or absorbing and dominating all peoples and institutions in their course. One of the streams of Aryan migration flowed towards the south and formed the Hindoo and Persian nations, and another came into Europe by way of the Hellespont and took up its abode in Greece and Italy. Three others, the Celtic, Teutonic, and Slavonic, followed in the order named, passing to the north of the Black Sea, and occupied respectively Western, Central, and Eastern Europe. Of all the nations who have developed from these original nuclei, the Hindoos show least evidence of close intercourse with the world's great teacher, whereas the Greeks, perhaps because of their proximity to Egypt, were led to avail themselves of her tuition to the fullest extent. The ancient Hindoos were less scientific than the Chinese or Egyptians, and isolation has prevented them from advancing with modern civilization. Their music is less the fruit of theories than it is of natural Aryan impulse. They do not look upon it as a science, but as a matter of the emotions, the result of, and intended to quicken, the imagination. I have seen Hindoo melodies which exhibited a correct appreciation of rhythmic adjustment, still their accomplishments do not entitle them to a place among the potent factors in musical evolution. Now we come to the climax of our first era. Such a true conception of beauty, such perfect symmetry, and such far-reaching imagination and lofty aspiration as are present in, and have made ancient Greek art and literature luminous for all time, bespeak conditions that would have carried music to fruition during their continuance had she not been so intangible, and therefore necessarily slow in developing. Had her nature been less coy, we might have ancient Greek music as monumental as the Iliad or the Parthenon.