Among the writers in question the most instructive is Aristides Quintilianus. He discusses the subject of musical ethos under the first of the usual seven heads, that which deals with sounds or notes ([Greek: peri phthongôn]). Among the distinctions to be drawn in regard to notes he reckons that of ethos: the ethos of notes, he says, is different as they are higher or lower, and also as they are in the place of a Parhypatê or in the place of a Lichanos (p. 13 Meib. [Greek: hetera gar êthê tois oxyterois, hetera tois baryterois epitrechei, kai hetera men parypatoeidesin, hetera de lichanoeidesin]). Again, under the seventh head, that of [Greek: melopoiia] or composition, he treats of the 'regions of the voice' ([Greek: topoi tês phônês]). There are three kinds of composition, he tells us (p. 28), viz. that which is akin to Hypatê ([Greek: hypatoeidês]), that which is akin to Mesê ([Greek: mesoeidês]), and that which is akin to Nêtê ([Greek: nêtoeidês]). The first part of the art of composition is the choice ([Greek: lêpsis]) which the musician is able to make of the region of the voice to be employed ([Greek: lêpsis men di' hês heuriskein tô mousikô perigignetai apo poiou tês phônês to systêma topou poiêteon, poteron hypatoeidous ê tôn loipôn tinos]). He then proceeds to connect these regions, or different parts of the musical scale, with different branches of lyrical poetry. 'There are three styles of musical composition ([Greek: tropoi tês melopoiias]), viz. the Nomic, the Dithyrambic, and the Tragic; and of these the Nomic is netoid, the Dithyrambic is mesoid, and the Tragic is hypatoid.... They are called styles ([Greek: tropoi]) because according to the melody adopted they express the ethos of the mind. Thus it happens that composition ([Greek: melopoiia]) may differ in _genus_, as Enharmonic, Chromatic: in _System_, as Hypatoid, Mesoid, Netoid: in _key_, as Dorian, Phrygian: in _style_, as Nomic, Dithyrambic: in _ethos_, as we call one kind of composition "contracting" ([Greek: systaltikê]), viz. that by which we move painful feelings; another "expanding" ([Greek: diastaltikê]), that by which we arouse the spirit ([Greek: thymos]); and another "middle" ([Greek: mesê]), that by which we bring round the soul to calmness.'