Biancani, Giuseppe, Aristotelis loca mathematica, 1615

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              <s id="s.004562">
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              quì ſimul Poetę extiterunt, ſic ait; Steſichorus, & veteres alij
                <expan abbr="Poetarũ">Poetarum</expan>
              , qui
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              carmina adhibitis modulis condidere. </s>
              <s id="s.004563">ſed quid erat Melopæia? </s>
              <s id="s.004564">ex Ariſto­
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              xeno,
                <expan abbr="atq;">atque</expan>
              Euclide; Melopæia eſt vſus harmonicæ tractationi ſubiectorum,
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              ad decorum propoſiti argumenti. </s>
              <s id="s.004565">ex qua definitione patet Melopæum eum
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              fuiſſe, quem modo vocant Compoſitorem. </s>
              <s id="s.004566">dicitur Melopæia, quaſi cantus
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              effectrix. </s>
              <s id="s.004567">is igitur erat Melopæus, qui res ſubiectas harmonicæ ſcientiæ, vt
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              ſunt ſonus, interualla, genera, modi, conſonantiæ, diſſonantiæ ritè in vſum
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              vocabat: vnde cantilenas humana oratione conſtructas ad decorum, ideſt
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              pro rei argumento conuenientibus rythmis modulabatur. </s>
              <s id="s.004568">Antiquitus igi­
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              tur Melopæiæ magis ſtudebant, quàm Ariſt. tempeſtate, quia tunc tempo­
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              ris magis erant in tragædijs cantilenæ in vſu, quam poſtea.</s>
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              385</s>
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              <s id="s.004571">Probl. 32.
                <emph type="italics"/>
              (Cur Diapaſon conſonantiam dicimus, non ratione numeri Diao­
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              cto, vti Diateſſaron, & Diapente? </s>
              <s id="s.004572">An quod antiquitus non pluribus, quàm ſep­
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              tem vterentur numeris? </s>
              <s id="s.004573">Deinde Terpander tritè exempta, Neten adiunxit, eiusqué
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              temporibus conſonantia hæc dicta eſt Diapaſon, non Diaocto: quippe quæ ſeptem
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              non octo conſtaret)
                <emph.end type="italics"/>
              Lege, quæ ſupra ad 7. problem. </s>
              <s id="s.004574">ſunt annotata de ordine
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              chordarum, quem Terpander induxit. </s>
              <s id="s.004575">Septem nimirum chordas
                <expan abbr="cõſtituit">conſtituit</expan>
              ,
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              inter quas Trite deſiderabatur, vt ibi explicaui. </s>
              <s id="s.004576">quare Terpander non im­
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              mutauit numerum chordarum antiquum, ſed tantummodo Neten cum Tri
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              te commutauit. </s>
              <s id="s.004577">Tempore igitur Terpandri cum ſeptem eſſent
                <expan abbr="tantũ">tantum</expan>
              chor­
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              dæ in pſalterijs, etiamſi prima cum vltima conſonantiam Diapaſon reſona­
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              ret, non tamen potuit hæc conſonantia appellari Diaocto. </s>
              <s id="s.004578">Boetius lib. 1.
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              cap. 20. Muſicæ, prædicta aſſerit de Terpandro. </s>
              <s id="s.004579">Suidas ait
                <expan abbr="Terpandrũ">Terpandrum</expan>
              fuiſſe
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                <expan abbr="Lesbiũ">Lesbium</expan>
              , & Poetam Lyricum, qui primus lyram ex ſeptem chordis fecit, cùm
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              prius à Mercurio ex quatuor tantum conſtructa fuiſſet. </s>
              <s id="s.004580">Cæterum ipſa Dia­
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              paſon ſic dicta eſt, quaſi per omnes, quia à prima chorda per omnes aſcen­
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              dendo ad vltimam perueniebatur, cum qua prima Diapaſon reſonabat. </s>
              <s id="s.004581">vel
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              quia intra Diapaſon reliquæ omnes conſonantiæ concinentur, quæ dicuntur
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              primæ: quæ enim ſupra Diapaſon ſunt, eædem ſunt cum prædictis, ſiue eiuſ­
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              dem naturæ; ſed quæ repetuntur, vt ſupra ſæpe dictum eſt.</s>
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              386</s>
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              <s id="s.004584">Probl. 33.
                <emph type="italics"/>
              (Cur aptius de acuto in graue canitur, quam de graue in acutum?
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              </s>
              <s id="s.004585">Vtrum, quod ita fit, vt à ſuo inchoetur principio? </s>
              <s id="s.004586">neruus enim, qui medius, & dux
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              eſt ſecundi tetrachordi, acutiſſimus est. </s>
              <s id="s.004587">illo autem modo non à principio, ſed à fine
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              exordiretur. </s>
              <s id="s.004588">An quod graue generoſius, & ſonantius ab acuto oriri poteſt)
                <emph.end type="italics"/>
              Na­
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              turale eſt omnibus, cùm canere incipiunt, ab acuto incipere; cum autem
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              deſinunt, in graui deſinere: quod ſi quis
                <expan abbr="contrariũ">contrarium</expan>
              faciat, ineptè agere æſti­
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              mabitur? </s>
              <s id="s.004589">Huius quæritur cauſa. </s>
              <s id="s.004590">Vbi explicandum quid ſit tetrachordum.
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              </s>
              <s id="s.004591">Tetrachordum igitur erat ſyſtema, vel
                <expan abbr="cõſtitutio">conſtitutio</expan>
              quatuor chordarum, qui­
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              bus Diateſſaron conſtabat. </s>
              <s id="s.004592">in maximo autem ſyſtemate, quod erat duarum
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              Diapaſon, ſiue Diſdiapaſon, erant plura tetrachorda. </s>
              <s id="s.004593">horum primum illud
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              erat, quod in parte grauiſſima
                <expan abbr="collocatũ">collocatum</expan>
              erat, cuius hæ erant chordæ, Hy­
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              pate, Parhypate, Lychanos, Meſe. </s>
              <s id="s.004594">ſi igitur inſtrumentum habuerit tantum
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              duo tetrachorda, neruus medius crit ipſa Meſe, quæ eſt acutiſſima primi te­
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              trachordi, eſt præterea hæc Meſe veluti dux reliquarum chordarum, nam,
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              vt dictum eſt in Probl. 20. eſt in medio carum vti dux; ſæpiſſimè omnium
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              pulſatur: ca ſola ab alijs diſſonante, reliquæ omnes videntur diſſonare. </s>
              <s id="s.004595">cùm </s>
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