The truth is that the founders of Athens, and Argos, and other great cities, were leaders of bands of military adventurers, and these when they left Egypt took with them the common popular music such as themselves and their families had been accustomed to, they had no need or use for any other; we should not expect of them that they would represent the musical culture of the motherland, already so highly developed. Hence the simple tetrachord of ages past, produced upon their reed pipes, satisfied them for all that they sought, it was their system of music, and had not been extended. In the early state of the music of the Greeks there had been a double influence, the Egyptian influence, and the older Asiatic influence, both as I imagine proceeding from the same Mesopotamian source in a remote age. We have to remember that there was a prehistoric Greece and an older Mycenœan Greece. Of Athens, we should say “the refounding,” for there had been five “Athens,” each city built upon the ruins of a former one. “Athens,” says Mr. H. R. Hall in his book, “The oldest civilization of Greece, has existed as an inhabited place from the earliest post-neolithic times, perhaps before 2500 B.C. to the present day,” a fact that may be very usefully recognised, it bears with it an important value, reminding us that an immigrant people almost invariably displaces earlier peoples, or absorbs them. Might ruled then, as now. In the realms of myth and legend the chief progenitors of music appear; Pan and Apollo, Mercury, Athene, and others; then tradition brings forward many names of poet-musicians who, it cannot be doubted, veritably existed in the flesh. Certain dates do not seem to be questioned, although they are prior to the Trojan War, which is supposed to have taken place between the periods 1500 and 1200 B.C. Homer himself being given a date about 900 B.C. In musical history as generally found, little is noted before Terpander 700-650 B.C., and it is assumed that up to his time only a four-stringed lyre had been in use by the Greeks; it is as if there had been averred a stagnation in music for many centuries. A closer investigation, however, must cause a revision of such a conclusion, and I repeat, it may well be that we should think of Greek music as having had two courses of usage, running parallel, even as in our own history. These are not as opposed but as distinct, the temple or academic music very strictly conservative, and the popular music with its mingled Asiatic influences, inherited, and untrammelled by priests or philosophers. Very naturally it would come to pass that literature occupied itself with the orthodox and academic views and systems of music, even as by learned musicians our ecclesiastical music has been regarded with almost exclusive attention, whilst the old English songs and ballads have, as it were, existed upon sufferance, kept in being by popular feeling and tradition.