444 Oji Ancient Greek Music. of their simple or compound intervals, yet the sa7ne consi- dered in unison. Such was their Melopoeia. But in our days the ear being accustomed to the harmonic arrangement of many parts, the attempts to approach too nearly to that most happy and simple melody of the ancients might prove no less difficult than dangerous, it was therefore judged not improper to compose for two, sometimes for three and four parts, as may be seen in the following volumes. '^After all, it must be confessed, this kind of composition, which may be rather termed an ingenious counterpoint than natural melody, is more likely to excite the admiration of the learned enquirer who examines it in writing, than to affect the heart and move the passions of those who hear it in the performance. And this arises, as well from the per- petual conflict of fugues or imitations in the different parts, as from the multiplicity of mixed harmonies which accom- pany them in order to fill and complete the chorus ; and these in fact are not^^ real harmonies, according to the unde- niable geometric and arithmetical experiments made by the ancient Greek philosophers, who have discovered a profound skill in investigating whatever is truly excellent in this science. On the other hand it is most certain that during a long series of time new laws both in theory and practice were continually added ; to which at this time we must entirely submit, although far different from those ancient rules which produced in their music those marvellous effects fully attested by historians both sacred and profane ; who inform us likewise of the magnificent uses and sacred purposes to which it was applied. " Those who imagine that simplicity was a defect in the ancient music are greatly deceived ; since it was in fact one of its noblest perfections. It cannot indeed be doubted that by multiplying instruments and voices we have rendered our compositions, in comparison with those of the ancients, full of ornament and beauty of another kind. : more laboured, by reason of the many subjects of which they are composed; more harmonious by the diversity of voices and the various combinations of concords and discords which must neces- '" See below, note 11.
