[ ?6i ] 
upon which ail the different effedts depended, to have 
been only in the tenfion, or acutenefs and gravity of 
the whole fyftem (36). And indeed, in the note on 
page 13 verfe 4. of that author (37), which, I pre- 
fume, Malcolm had under his eye, Meibom i us clearly 
decides for the harmonic dodurine, as he does alfo in 
his note on page 2. verfe r. of Euclid’s Harmonic 
Introduction (38). But in this laft note, he had juft 
before told us, that tone was by the antients alfo called 
harmonia, and fpecies of dlapafon (39). And, in 
the conclufion of his note on page 1 . verfe 10. of the 
fame author, he delivers himfelf more fully to the 
fame purpofe. 
“ The antients (fays he) having confidered feveral 
fpecies of diapafon in the bifdiapafon, called thefe alfo 
harmonics. Whence we read Dorian, Phrygian har- 
mony, in the befc writers. The fame were again 
called tones and tropes, or modes (40).” 
In 
(36) Malcolm’s Treatife on Mufic, p. 540. 
(37) ^' c autem locus oppidd notandus eft contra recentiorum 
de tonorum effectibus opiniones, illorum enim varietates, fo, la , 
acuminis atque gravitatis differentia veteres unanimi confenfu deffni- 
unt — Acumen autem ac gravitatem nihil varietatis cantilenae adferre 
contra omnem eruditam vetuftatem, imo communem renfum exif- 
timant. Meibom, in Arift.,Quint. p.219. 
(38) Tonus feu modus eft totius fyftematis harmonici, hoc eft 
bifdiapafon aut fimpliciter diapafon differentia; ut Phrygius tonus 
a Dorio nulla alia re differ:, quam quod totum Phrygii fyftema 
acutius fit toto Dorii fyftemate, tono, qui eft in ratione fuper- 
oftava. Meibom, in Euclid. Intro, di Harm. p. 46. 
(39) T oni vocabulum quatuor modis accipitur ; — hie idem eft 
quod modus ; cum dicimus tonus, five modus Dorius, Lydius, 
Mixolydius ; veteribus quoque harmonia adpellatur, et fpecies dia- 
pafon. Ibidem. 
(40) Cum autem plures diapafon fpecies in bifdiapafon antiqui 
fpedtarent, illas quoque adpellarunt harmonias. Unde Doria, Phry- 
gia 
