RAR .-- ! 
Thy virtue there a place has: won, 
With Diomede, great Tydeus’ fon 
With fwift Achilles, too, thou art in’ 
And ev'ry friend of human kin 
See ARISTOGITON. 
HARM TA, se in Anatomy, a fort of juncture 
or articulation of anes 
Harmonia 1s a ae air the fynarthrofis, or juncture in- 
tended for abfolute reit. 
Two .bones are > faid to be Paints oe sosiabagsge by har- 
monia, ated t 
circular line ; or when 
gms 3 3 in Cénkrabiineats foi futura, where they are in- 
The bones of the upper jaw, and moft of the epiphyfes, 
are joined per ‘harmoniam. 
Armonia, Lat. Harmony, in Mufic, the coincidence, 
or saa unifon-or mixture of two or more notes or 
four 
Hanwoxta in Mythology, the wife of Cadmus. See 
Cap 
HA ‘RMONLE, in 7 an interval which, according 
toM. Henfling, has a ratioof 433, =212 + 2m, and is 
the Enharmonic Diesis, which fe. 
HARMONICA, a term 
found to found. See Pes at a 
Harmonica Regula. (See 
organift and sole at the late Mr. Keeble, coadjutor with 
Rofeingrave, as organift of St. George’ s, Hanover fquare, { 
srg himfelf many years in the ftudy of the harmo- 
He d oes not feem, however, to have difcovered with all 
his long and intenfe dtudy, what others have clearly demon- 
rated ; that by Aarmony the ancients age precifely what 
the moderns imply by melody. The late Mr. Mafon, who 
being a. mutlician, alla moderna, aad pro 
better acquainted with Greek literature 
has defined the harmony of the ancients in the = as 
Mufical Definitions. 
Harmony of the Ancients. 
The em = fimple founds, according to their fcale, ie 
ety: 
wake refpect to acutenefs or gra 
Melody. ; 
The fucceffion of thefe harmonical founds, according to 
the laws of rhythm or metre; or, in her words, accord- 
ing to times meafure, ne clonic. 
Harmony of the Moderns. 
: har ceeffion of combined founds or chords, according 
to the laws of counterpoint. 
Melody, 
What the ancients meant by harmony ; rhythm and metre calc 
being excluded. 
What the ancients underftood by use 
Ang! 
chet term pa aa melody f 
athing diftingnifhed from see bac im 
en by the ancients to that ture 
part of mufic, which intiaeee the ratio or proportion of 
in 
ee Monocrorn.) That excellent 
HAR 
melody was applic’ to what we call air or fong. If this be 
— much of the difficulty in underftanding ancient mufical 
riters will van 
«« If an ancient Tibicen ufed an improper tone or femi-tone, 
or tranf{greffed the rule of the mode or key in which he was 
poses , he committed an error in harmony, yet his melody 
might have been perfect with refpeé to the laws of rhythm 
we meafure. We fhould rather fay of a modern mufician, 
nthe fame inftance, that * he fung or played ie: notes; 
or was out of tune, yet kept his time.”?” Whoe made 
this diftinétion, would have le allowed me the nel: to 
poffefs a good harmonical ear, t — the moderns woul 
call it an ear for melody or intona We ie t this familiar 
prmat only to make the. difference of the definitions more 
clear 
fhould call an inftrument out of tune inharmonious, 
though the intervals are nearly ri 
rmony and harmonics, es Greeks ye nothing 
more than that proportion o d to found which mathe- 
maticians term ratio, or, in common ne nnieare, mufical tones 
that fucceed each other agreeably. As ancjent harmon 
was the fucceffion of fingle founds, modern harmony | is the 
fucceflion of chords. 
“Whether the diatonic fcale was originally the work of Nae 
hor: 
the harmony ae mere of the Ga bid Keble s 
ok, is meant nothi an the ra mufical 
often been treated by modern 
to the prefent, without improvin 
udent upon any initrument. 
‘intok 
the Greeks to the Royal So 
Sons Harmoniquss, PyTHAGOR 
HARMO. 
Se 
(4th), whofe ratio ak = ase Rae 
munor 
Sf + 22m: fince each one of thefe fing 
