(3) In a somewhat similar passage of the same work (c. 19) Plutarch is contending that the fewness of the notes in the scales used by the early musicians did not arise from ignorance, but was characteristic of their art, and necessary to its peculiar ethos. Among other points he notices that the tetrachord Hypatôn was not used in Dorian music ([Greek: en tois Dôriois]), and this, he says, was not because they did not know of that tetrachord--for they used it in other keys ([Greek: tonoi])--but they left it out in the Dorian key for the sake of preserving its ethos, the beauty of which they valued ([Greek: dia dê tên tou êthous phylakên aphêroun tou Dôriou tonou, timôntes to kalon autou]). Here again Westphal (_Aristoxenus_, p. 476) has to take [Greek: tonos] to mean [Greek: harmonia] or 'mode' (in his language _Tonart_, not _Transpositionsscala_). For in the view of those who distinguish [Greek: harmonia] from [Greek: tonos] it is the [Greek: harmonia] upon which the ethos of music depends. Plutarch himself had just been saying (in c. 17) that Plato preferred the Dorian [Greek: harmonia] on account of its grave and elevated character ([Greek: epei poly to semnon estin en tê Dôristi, tautên proutimêsen]). On the other hand the usual sense of [Greek: tonos] is supported by the consideration that the want of the tetrachord Hypatôn would affect the pitch of the scale rather than the succession of its intervals. It seems to follow from a comparison of these three passages that Plutarch was not aware of any difference of meaning between the words [Greek: tonos] and [Greek: harmonia], or any distinction in the scales of Greek music such as has been supposed to be conveyed by these words. Another synonym of [Greek: tonos] which becomes very common in the later writers on music is the word [Greek: tropos][1]. In the course of the passage of Plutarch already referred to (_De Mus._ c. 17) it is applied to the Dorian mode, which Plutarch has just called [Greek: harmonia]. As [Greek: tropos] is always used in the later writers of the keys ([Greek: tonoi]) of Aristoxenus, this may be added to the places in which [Greek: harmonia] has the same meaning. § 13. _Modes employed on different Instruments._ In the anonymous treatise on music published by Bellermann[2] (c. 28), we find the following statement regarding the use of the modes or keys in the scales of different instruments: