C 730 ] 
metric; which three fciences more particularly con- 
tained the poets elements, as teaching the grounds of 
tune, time, and verfe. But nothing lefs than a com- 
petent knowlege of every branch of the . mothei^ 
lcience could carry with it the refpeded title of 0 
uuaLv.os, the mulician. To harmonic, rhythmic, 
and metric, in the theoretic, refpedively aniwered 
melopoeia, rhythmopcei'a, and poetic, in the piadic. 
In this author’s divifion therefore, we lee, that har- 
monic and melopoeia are diftinguilhed, even by the 
firft general divifion. Of the propriety of this even 
the Ariftoxenians feem to have been fenfible ; lincc, 
in order to juftify their blending them, they have 
defined harmonic as a fcience, both theoietic and 
pra&ic (14). And Ariftoxenus himfelf, in the frag- 
ments we have under the falfe title of his three books 
of harmonic elements, feems to affign fuch bounds 
to harmonic, as might well be underflood to exclude 
* 
u 
'"alia eft pars 
Theoretica, 
cuius rurl’us 
paites dux 
<5 
alia 
Pra&ica, 
cujus item 
partes dux 
r Phyfica, 5 Arithmeticam, 
\ quxdividitur in \ Phyficam generi cognominem. 
) . .. . f Harmonicam, 
/ Artificial^, j Rhythmicam, 
L quxdividiturin J 
- ttt r, C Melopoeia, 
! Ulualis, > Rhythmopcei'a, 
cujus paites £ ?q ^ 
L 
. r Orgamca, 
Enarratiya, \ 0dica> 
{ Hypocritica. 
cujus partes 
(, 4 ) 'Acptoi’/joi tciv e-sr/ri^H 
e>v<rta{, Euclid, lntrod. Harmon, initio. 
melopoeia 
