Answering to the second it has a series of scales in which the delicacy and variety of the intervals still fill us with wonder. In both these points modern music shows diminished resources. We have in the Keys the same or even a greater command of degrees of pitch: but we seem to have lost the close relation which once obtained between a note as the result of physical facts and the same note as an index of temper or emotion. A change of key affects us, generally speaking, like a change of colour or of movement--not as the heightening or soothing of a state of feeling. In respect of the second element of vocal expression, the rise and fall of the pitch, Greek music possessed in the multiplicity of its scales a range of expression to which there is no modern parallel. The nearest analogue may be found in the use of modulation from a Major to a Minor key, or the reverse. But the changes of genus and 'colour' at the disposal of an ancient musician must have been acoustically more striking, and must have come nearer to reproducing, in an idealised form, the tones and inflexions of the speaking voice. The tendency of music that is based upon harmony is to treat the voice as one of a number of instruments, and accordingly to curtail the use of it as the great source of dramatic and emotional effect. The consequence is twofold. On the one hand we lose sight of the direct influence exerted by sound of certain degrees of pitch on the human sensibility, and thus ultimately on character. On the other hand the music becomes an independent creation. It may still be a vehicle of the deepest feeling: but it no longer seeks the aid of language, or reaches its aim through the channels by which language influences the mind of man. [Footnote 1: The two schools distinguished by Plato seem to be those which were afterwards known as the [Greek: harmonikoi] or Aristoxeneans, and the [Greek: mathêmatikoi], who carried on the tradition of Pythagoras. The [Greek: harmonikoi] regarded a musical interval as a quantity which could be measured directly by the ear, without reference to the numerical ratio upon which it might be based. They practically adopted the system of equal temperament. The [Greek: mathêmatikoi] sought for ratios, but by experiment 'among the consonances which are heard,' as Plato says. Hence they failed equally with those whose method never rose above the facts of sense.] * * * * * APPENDIX TABLE I. _Scales of the seven oldest Keys, with the species of the same name._ [Music: Mixo-lydian. _b_-species.] [Music: Lydian. _c_-species.] [Music: Phrygian. _d_-species.] [Music: Dorian. _e_-species.] [Music: Hypo-lydian. _f_-species.] [Music: Hypo-phrygian. _g_-species.] [Music: Hypo-dorian. _a_-species.]