673
II A II
II A R
are extant, harmony appears to be that department whose objectis the agreeable succession of sounds, merely considered as highor low ; in opposition to the two others called rhythmica anil me-trica,« which have their principle in time and measure. Thisleaves our ideas concerning that aptitude of sound vague and un-determined ; nor can we fix them without studying for that pur-pom ali the rules of the art: and even alter we have done so, itwill be very difficult to distinguish harmony from melody, unlesswe add to the last the icl^as of rhythmus and measure : without■which, in reality, no melody can have a distinguishing character:whereas harmony is characterised by its own nature, independentof all other quantities except the chords or intervals which composeit. It appears by a passage of Nicomachus , and by others, thatthey likewise gave the name of harmony to the chord of an octave,and to concerts of voices and instruments, which performed in thedistance of an octave one from the other, and which is more com-monly called antiphone.
II armoxy, according to the moderns, is a succession of chordsagreeable to the laws of modulation. For a long time this har-mony had no- other principle but such rules as were almost arbi-trary, or solely founded on the approbation of a practised ear,which decided concerning the agreeable or disagreeable successionof chords, and whose determinations were at last reduced to cal-culation. But F. Mersenne and M. Saveur having found thatevery sound, however simple in appearance, was always accom-panied with other sounds less sensible, which constitute with itself aperfect chord-major; with this experiment M. Rameau set out,and upon it formed the basis of his harmonic system, which he hasextended to many volumes, and which at lust M. D’Alembert hastaken the trouble of explaining to the public. Signior Turtini,taking his route from an experiment which is newer and more de-Iii ate, though not less certain, has reached conclusions like those ofRameau, by pursuing a path whose direction seems quite opposite.According to Rameau the treble is generated by the bass; SigniorTartini makes the bass remit from the,treble. One deduces harmonyfrom melody, and the other supposes quite the contrary. To de-termine from which of the two schools the best performances arelikely to proceed, no more is necessary than to investigate lire endof the composer, and discover whether the air is made for the ac-companiments, or die accompaniments for the air. See Chord ,Discord, Enharmonic, Fundamental Bass, Modulation,Music, See.
Harmony, Direct, is that in which the bass is .fundamental,and in which the upper parts preserve among themselves, andwith that fundamental bass, the natural and original order whichought to subsist in each of the chords that compose this harmony.
Harmony, Inverted, is that in which the fundamental or ge-nerating sound is placed in some of the upper parts, and when someother sound of the chord is transferred to the bass beneath the others.
II armony is also sometimes used to denote an agreement,suitableness,, union, conformity, Sec. thus, in music, wc sometimesapply it to a single voice, when sonorous, clear, and soft; to a singleinstrument, when it yields a very agreeable sound : in matters ofliterature we use it for a certain agreement between the severalparts of the discourse: in architecture harmony denotes an agree-able relation between the parts of a building: in painting theyspeak of an harmony both in the ordonance and composition, andin the colours of a picture: in the ordonance it signifies the unionor connection between the figures, with respect to the subject ofthe piece; in the colours it denotes the union or agreeable mix-ture of different colours. See Symmetry, Colouring , &c.
IIarmomy of the Spheres, or Celestial Harmony, a sortof music much talked of by many of the ancient philosophers andfathers, supposed to be produced by the sweetly tuned motions ofthe stars and planets. This harmony they attributed to the va-,rious proportionate impressions of the heavenly globes upon oneanother, acting at proper intervals. It is impossible, according tothem, that such prodigious large bodies, moving with so much ra-pidity, should be silent; on the contrary, the atmosphere con-tinually impelled by them, must yield a set of sounds propor-tionate to the impression it receive:;; consequently as they do notall run the same circuit, nor with one and the same velocity, thedifferent tones arising from the diversity of motions, directed bythe hand of the Aimightv, must form an ‘admirable sympathy, orconcert. They therefore supposed that the moon, as being the
Vol. II. —no. 101.
lowest of the planets, corresponded to mi; Mercury, to fa; Ve-nus, to so/; the Sun, to/a ; Mars, to si; Jupiter, to lit; Saturn ,to re; and the orb of the fixed stars, as being the highest of all, tomi, or the octave.
IIARMOSTA, or IIARMOSTES, from wow, to
adapt,] in antiquity', a magistrate among the Spartans, whereofthere were several, whose business was to look to the buildings ofcitadels, and repairing the forts and fortifications.
IIAR M OSYA IANS, [ t %.« tv»oi,] in antiquity, magistratesamong the Spartans, who, after the -death of Lvcurgns, were ap-pointed to enforce the observance of that law, which requiredmarried women to wear veils in the streets; whereby they weredistinguished from single females, who were allowed to go abroadwith their faces uncovered.
HARM ESS, comprehends the whole equipage and accoutre-ments of a cavalier heavily armed : as casque, cuirass,'&c. Somederive the word from the Greek a lamb’s skin, because
thev anciently covered themselves therewith.
HARO, a town of Spain, in Old Castile, on the Ebro , 3? milesN.R. of Burgos.
Haro, IIarol, or IIarou, or Clamour de Haro, in| the Nor-man customs, was a erv or formula of invoking the assistance ofjustice against the violence of some olfender, who, upon hearingthe word huro, was obliged to desist, on pain of being severely pu-nished for his outrage, and to go with the party before the judge.The word is commonly derived from hu and rout, as being sup-posed an invocation of the sovereign power, to assist the \yeakagainst the strong ; from Raoul, first duke of Normandy .
IiAR l\ a musical instrument of the string-kind, of a triangularfigure, held upright between the legs of the person who playsupon it. Papias and Du Cange suppose its name derived fromthe Arpi, a people of Italy', who invented it, and from whom,they say, it was borrowed by other nations. Menage. &c. derivethe word from the Latin harpa, and that from the German herpor harp. Others trace it from the Latin, carpn , because thrum-med with the fingers. Dr. Hickes derives it from harpa or hearpa,which signify the same thing in the Cimbrian and Anglo-Saxon .The harp was the favourite musical instrument of the Britons andother northern nations in the middle ages ; as is evident from theirlaws, and various passages in their history. By the Jaws of Walesa harp was one of the three things that were necessary to constitutea gentleman or a freeman ; and none could pretend io that charac-ter who had not one of these favourite instruments, or could notplay upon it. That the harp is among the most ancient of musi-cal instruments, the frequent mention of it in scripture, and thesplendid account transmitted to us of the Theban harp, both as tothe beautv of its decorations and extent of scale, arc sulficieut evi-dences. *The Irish and Welsh practised the harp long before thegammut of Guido was invented, and it is indeed their nationalinstrument. The harp was in no less estimation and universal useamong the Saxons and Danes. There is some diveisity in thestructure of harps. That called the triple harp has three vows oi'strings and chords, which in all make seventy eight, or four oc-taves; the second row makes the half-turn, and the third is uni-son with the first.
Harp , thf. Bell, a musical instrument of the string-kind, thuscalled from the players on it swinging it about as a hell on its basis.It is about three feet long; its strings which are of no determinatenumber, are of brass or steel wire, fixed at one end, and stretchedacross the sound board by screws fixed at the oilier. It takes infour octaves, according to the number of the strings, which arestruck only with the thumbs, the right hand playing the treble,and the left hand the base : and in order to draw the sound theclearer, the thumbs are armed with a little wire-pin. This mavperhaps he the lyra, or cythara, of the ancients; but we find nomention made of it under the name it now bears, which must beallowed to be modern.
IlARl’AGINES, [rijnayj;,] in antiquity, were hooks of iron,hanging on the top of a pole, which, being secured with chainsto the masts of ships, and then let down with great velocity intotlie enemy’s vessels, caught them up into the air.
HARPASA, a town of Caria , on the Ilarpasus, famous for aaimmense rocking-stone, which was moveable by the finger, butcould not be displaced by any force,
8 I HARPIJ,