The same principle of differentiation applied to music as well as to art, in Hellas: the Dorian, the Ionian, the Aeolian, as well as the neighbouring Phrygian and Lydian, each produced a type of their own, or “harmony,” as it was called. Each “harmony” bore the mark of the “ethos,” or moral character, of the tribe or race which produced it, plainly and unmistakably. Music in early Hellas must have been of a primitive type, and an acute musical ear had not yet been developed by long training. Consequently, the average Hellenic audience was in the position of the utterly unmusical man of modern times: the complicated music of modern masters would have been wholly unintelligible to them, and the only meanings which they could extract from music were certain broad ethical impressions. The unmusical man is stirred by a good marching tune, moved to a certain depression by a dirge or dead march, enlivened and excited by a rollicking bacchanalian song, and reduced to a solemn and half-religious frame of mind by the tones of a great organ. So with the average Hellene: he extracted this amount of impressions from his music, and no more. Any idea of music as the voice of the unutterable was quite foreign to his mind; in fact, he disliked any music that was unaccompanied by singing: tunes without words were unknown in earlier Hellas. How these different harmonies were produced, by what combination of notes and scales each was regulated, may be left to the specialists: it is one of those questions which will probably never be settled conclusively. The fact remains that they existed, each with an unmistakable moral characteristic of its own. But what exactly the moral characteristic of each was, is rendered doubtful by the conflicting evidence of different writers; probably, as musical taste changed and developed, the same “harmony” came to cause a different impression. Plato’s ear, accustomed to the prevalent Dorian, found the Lydian doleful and depressing; Aristotle and his contemporaries, more used to softer music, praised it as valuable for educational purposes.[682] Herakleides of Pontos,[683] who made a special study of music, gives, in a fragment, a sketch of the old Hellenic “harmonies.” The Dorian, according to him, was manly, dignified, stern, and robust, not effeminate nor merry nor variegated nor versatile.[684] The Aeolic, afterwards called “Hypo-Dorian,” was haughty and pretentious, rather conceited, not, however, base in any way, but inflated and confident. It was the right music for “woman, wine, and song.” The Ionic, representing the old Ionic character before the race degenerated, was passionate, headstrong, contentious, showing no signs of benevolence or merriment, but revealing a certain hardness of heart and temperament. It was not florid nor cheerful, but austere and harsh, with a not ignoble dignity which fitted it to accompany Tragedy. Later, the race and the “harmony” seem to have degenerated,