For what it’s worth, I tend to think of Dorian as a minor scale with the sixth note sharpened, as typified by many Irish fiddle tunes, (the Rakes of Kildare, Morrison’s Jig, Cooley’s Reel, etc) where any chordal accompaniment tends to work better with minor chords (Em or Am) alternating with a major flat 7th chord (D or G). Some will argue it’s wrong to think in terms of chords anyway, hence the popularity of DADGAD and use of bouzouki for accompaniment, where chords without thirds in them are easier, and produce a pleasing ambiguity between major and minor, rather than strait jacketing the tune into a more familiar modern key and scale. No doubt others view it differently.