[ 7 2 9 ] 
Fourthly , To point out fomething of the origin of 
the two dodtrines. 
The harmonic dodtrine was, as I have fhewn, ex- 
prefly taught in harmonic j and therefore, to account 
for its reception, it will be neceflary to conlider the 
fcope of that lcience. 
The muflcal dodtrine I have alfo fhewn to have 
been explained in harmonic, as far as concerned the 
elementary principles of the fpecies of diapafon ; but 
the application of thofe principles to the dodtrine of 
the modes was not taught therein, being refer ved for 
melopoeia, a fcience, that looked higher than har- 
monic, and confidercd the ufe of the elements, when 
in the hands of the poet or mufician. It is to this 
fcience, therefore, that we muff iook for the origin df 
the muflcal dodtrine. 
But, before I confider the fcope of either of thefe 
fciences, it will be neceflary to fhew my reafons for 
feparating them, flnce they were blended by the 
Ariftoxenians, as has been fhewn above. For this 
purpofe, we muft have recourfe to the divifion of 
mufic, the mother fcience - y which, as treated by the 
antients, comprehended all, that the moderns now 
underhand by mufic and poetry. Its firfl general 
divifion, according to Ariflides Quintilianus (13), was 
into theoretic and pradtic. The theoretic was fub- 
divided into natural and artificial ; the latter of which 
was again fubdivided into harmonic, rhythmic, and 
metric i 
(13) De Mufica, p. 7. See alfo Meibomius on the paflage, 
who has embraced the divifion of Ariflides, in the following table. 
M u s i.c J& 
