Fiftulapaftoricia, tbeRomancatcall, 363, 4. 
Flageolet, or oflave flute, 585- 
Flute, ancient, and the manner of playing 
it, 295; contrivance for avoiding danger, 
352; monaulos, or Angle flute, 345; 
Egyptian, 347 ; Grecian, made of bone 
or of box, 350; why rlifearded by Mi¬ 
nerva, 351 ; every nation invented its 
own, ibid, confined to elegies and mourn¬ 
ful mufic, 357; its invention accounted 
for by Pindar, 3 59 ; why in peculiar credit 
at Athens, ibid, female flute- players, 295, 
360; hiftorical account of flutes, 364; their 
defedls, 365 ; double flute and plugged 
flute, ibid. Otaheitean, African, and Eng- 
lifli, 385; German, 385, 6, 7. 
Flute-maker, a good trade at Athens, 360. 
Foot, in mufic, 341. 
Fourth, chords of, 332. 
France, ftate of mufic there in the feven- 
teenth century, 303. 
Franco, inventor of the time-table, and mu- 
fical characters, 318. 
French horn, 388 ; its fcale, 389. 
Frefcobaldi, an eminent mulician of the 
feventeenth century, 301, 2. 
Fugues, fome of the eariieft, 301, 24 the 
nature of explained, 342. 
Gabrielli, a celebrated opera-finger, 307, 8. 
Genera, ancient, 323; modern, 326. 
Geurgi, an opera-finger, 308. 
German flute, 385; improved, 386, 7. 
Germany, muficians of, 301 ; handicrafts, 
3 ° 3 *. 
Giardini, an account of that great mufician, 
306, 7. 
Giraldus Cambrenfis, his account of the 
early Weifli mufic, 298. 
Graces in mufic, 319. 
Graflini, an Italian finger, 310. 
Gray’s Odes, 313 
Greek mufic, origin of, 291 ; two principal 
fedts, 292 ; golden age of, 294, 5 ; female 
performers, 295 ; confidered grave founds 
high, and acute ones low, 317; tetra- 
chord, 317, 345, 352; modes, 323; as 
explained by Kolman, 324, 5 ; borrowed 
their inftruments from the Egyptians, 
437 ; contrafted with the Romans, as en- 
couragers of the liberal arts, 364 
Guadagni, an opera-finger, 307. 
Guido d’Arezzo, the fuppoftd inventor of 
counterpoint, 298. 
Guitar, Euglilh ana Spanifli, 380 ; Indian, 
38r. 
Handel, his arrival and career in England, 
3C5; concerts to his memory, 308 ; cha- 
rafter of his mufic, 311; has given bread 
to thoulands, 3 14. 
Harmonia, the wife of Cadmus, 350. 
Harmonic* of a firing or tube, 322; of the 
violin, 383. 
Harmony, 285; of the univerfe, 286; of 
the fcaje, 334. 
Harp and haruers, 298, 9 ; Theban harp, 
346; H ebrew harp, 349; whence de¬ 
rived, 377 ; its hiftory, 377-9 ; Wellh, 
377, 8; Irifli and Engliflr, 378 ; yEolian, 
378, 9- 
Harp-guitar, by Mr. Levien, 381. 
Harpfichord, hiftory of, 373. 
Harris, a writer on mufic, 313; organ-build¬ 
ers, 371. 
Hawkins’s finger-keyed viol, 374, 5. 
Hebrew mufic, 288, 9 ; in the time of So¬ 
lomon, 290 ; its decline, 290, 1 ; derived 
from the Egyptians, 291. 
Henry VIII. a mufician, 314. 
Herodorus of Megara, a famous trumpeter 
of antiquity, 356. 
Hogben’s contrivance to play the flute and 
fing at the fame time, 386. 
Yol. XVI. No. 1121. 
MUSIC. 
Horn, 388; French, Irifli, 389. 
Homer, ftate of mufic in his time, 294, 
354; in fpeaking of Demodocus, l'eems 
to have alluded to bimfelf, 355. 
Hurdy gurdy, or beggars’ lyre, 384. 
Hyagnis, the father of Maifyas, 351. • 
Hvdraulicon, or water-organ, 367, 372. 
Hymns in parts, or in dialogue, 289. 
Idasi D-idtyli, and their mufic, 350. 
Jefferies, the famous judre, 371. 
Jews, ancient,.mufic of, 289 ; modern, 291 ; 
ancient inftruments, 348. 
Imitation, a kind of fugue, 341. 
Intervals explained, 328. 
1 nverfion, 329, 332-33?. 
Jones’s Hift. of Wellh Mufic, 377, 8. 
Irifli, their ancient bards and mufic, 297 ; 
harps, 378. 
Italians, have fucceeded the Greeks as mu¬ 
ficians by nature, 287 ; cultivated mufic 
in the dark ages, 298 their exertions in 
the fixteenth century not to be com¬ 
mended, 300; in the feventeenth cen¬ 
tury, 302 ; began to be employed in Eng¬ 
land, 305 3 of the prefentday, 311; ftyle 
of their national mufic, 315 ; have fur- 
paffed the Greeks as well as the Romans, 
364. 
Jubal’s organ, 288. 
Julian the Apoftate, his epigram deferiptive 
of an organ, 367. 
Kauffman’s curious inventions, 376. 
Kelly, earl of, a good mufician, 309. 
Kettle-drum of Abyffinia, 347 ; of Europe, 
39 1 - 
Kircher, probably the inventor of the /Eo- 
lian harp, 378, 9. 
Kolman’s explanation of the fcale, 324. 
Lacedaemonians, not unmindful of mufic, 
356 
Lamia, a female mufician in Greece, 295. 
Levien’s harp-guitar, 381. 
Lidl, a performer on the viol di gamba, 
38 ;. 
Linus, 353. 
Lituus, or odlave-trumpet, 365. 
Logier’s new fyftem of teaching mufic, 320, 
322. 
Lolle, a celebrated violin-player, 309, 10. 
Loulie’s chronometer, ortime-meafurer, 393. 
Lulli, the celebrated French mufician, 303. 
Lute and arch-lute, 379 ; double-lute, 379, 
80. 
Lyre, ancient Egyptian, 293.; fucceflive ad¬ 
ditions of firings, 294, 352 ; Abyflinian, 
348 ; Grecian, eflentially different from 
the Egyptian, 351 ; impreffed on the 
ftandards and coins of many nations, 354 ; 
various ancient lyres, 366 ; probably (iml- 
lar to the original harp, 377 ; beggars’ 
lyre, 384. 
Mace’s double lute, 379, 80 ; remarks on 
viols, 381, 2. 
M'Gregor’s patent flute, 386, 7, 
Machul and minnin, two Hebrew inftru¬ 
ments, 349; their genuinenel's doubtful, 
35 °. 
Mkelzel’s metronome, 395. 
Mandoline, its fcale the fame as the vio¬ 
lin, 381. 
Manzoli, an opera finger in the fetious ftyle, 
307. • 
Mara, a very accomplifhed finger, 309. 
Marchcfi, a diftinguiihed Italian finger, 309. 
Marfyas, called the inventor, of the double 
flute, 351 ; and of the capiftr.um, 352. 
Mafrakitha, or Hebrew pipes, 349. 
Mercury, his claim to the invention mufic, 
288 ; Grecian Mercury, 351. 
Midas, fable of, explained, 351; another of 
that name, a flute-player, cotemporary 
with Pindar, 359. 
807 
Mafon, a great improver of the piano-forte, 
374 - 
Milton’s commendation of mufic, 313. 
Minerva, the inventrefs of the flute, 350 3 
throws it away, 351. 
Minor mode particularly explained, 325 , 6 . 
Minftrels, their ancient office, 289; among, 
the Greeks; 294; the Romans, &c. Sec. 
296 j guardians-of female virtue, with 
fome exceptions, ibid, farther particulars 
of minlbels, till their decline, 297 3 
meetings in modern times, 378. 
Modes, Greek, 323 ; major and minor, 325 ; 
mixed, 126 ; ecclefiafcical. 326, 7. 
Modulation, 334; natural and abrupt, 335. 
Monaulos, or (ingle flute, 345. 
Mortochord, harmonics of, 322; divifions, 
3 2 3 
Montefquieu’s praife of mufic, 314. 
Mofes, his hymn of triumph, 289. 
Motion, fimilar, contrary, and oblique, 
3 * 9 - 
Mozart, 152-6, 311. 
Mufes, fancifully reprefented, 353. 
Mufic, definition, derivation, and natural 
divifion, 285 ; is both an art and a fei- 
ence, ibid, pradtical mufic, 285, 316; 
vocal mufic is of the higheft antiquity, 
2853 allegorical account of, 286, 7, an¬ 
cient mufic, and its eftedls, 287 ; parti¬ 
cularly national mufic, 287, 315 ; full 
employed for religious purpofes, 288, 
296, 7; one of the firft arts known, ibid. 
Egyptian mufic, 2S8 5 Hebrew, 289 ; 
connedted with, or infpiring, the gift of 
prophecy, ibid, its eftedls in calming the 
mind, 289 ; of the modern Jews, 291 ; 
of the Greeks, 291-295; connexion of 
poetry and mufic, 294, 5 3 of the Ro¬ 
mans, 295 ; not capable of reforming the 
wicked, 296, 313; mufic of the ancient 
Irifli and Scotch, 297 3 invention of 
counterpoint, and of the time-table, 298 3 
mufic ranked among the feven liberal arts, 
299 ; how to proceed for degrees, 299, 
300 ; mufic greatly cultivated in England 
after the reformation, 300 3 general ftate 
in the fixteenth century, 301 5 in the 
feventeenth, with the invention of figured 
bafies 301 ; recitatives and operas in¬ 
vented, 303 ; modern aera, or aera of 
Hanael, 305; prefent ftate, 310, II 3 
wonderful eftedls of, 311; its milder 
powers, 302 ; eafier remembered than 
poetry, 3133 its eftedls on brutes, ibid, 
incitements to the ftudy, 314. Mufical 
notation, 316-19; fcale ot nature, 322; 
Greek modes, 323 ; modern modes, 325- 
327; genera, 3263 Chinefe mufic, 327; 
Cingalefe, 328 Thorough lufs, 329 ; 
modulation, 334; counterpoint, 336; 
rhythm, 338. Mufical inftruments qf 
the Egyptians, 345 ; of the Hebrews, 
348 ; of the Greeks and Romans, 350 3 
of the moderns, 366. Publications on, 
395 . 6 - . . 
Mufical ratios, fanciful,application of, 292. 
Mufical inftruments of the Egyptians, 345 ; 
of the Hebrews, 348 ; of (he Greeks and 
Romans, 350; modern, with their fcale?, 
366 ; Weifli, 377. 
Muflolini’s explanations of the harmonics of 
the monochord, 322, 3 ; of the major 
and minor keys, 325, 6. 
National mufic, 287 3 of the Scots, the 
Swifs, the Italians, Germans, &c. 315. 
Nero, a good mufician, 295 ; a player on tiie 
bagpipes, 366 ; his water-organ, 367. 
Nicolini, the firft great Italian finger that- 
appeared among us, 305. 
Ninth, chord of, 333. 
Notes and refts, 317,. 
5 1 Noverre, 
