Universal Harmony (Harmonie Universelle)

III. Given a weight supported by two strings, or by two supports, whose position is given, find what power is needed for each string, or for each support. 21. Where one must also see the nine Scholia original: "Scholies"; explanatory notes or comments on a mathematical or scientific text that follow.

The Fifty-Three Propositions of the Book on the Voice.

The printers have incorrectly placed "of universal harmony" in the titles of the pages until the eleventh page. See the Preface.

I. The motor power of the soul is the principal and first cause of the Voice of animals, and has its seat in the tendons. 1.

II. Of all the muscles in the body, those of the chest and the larynx contribute most immediately to the Voice. 3.

III. The glottis The opening between the vocal folds in the larynx is the most direct cause of the Voice. 4.

IV. The muscles and the nerves of the larynx serve to form the low and high voice. 6.

V. The voice is the sound made by the animal by means of the vocal artery original: "artere vocale"; in the 17th century, this often referred to the trachea or windpipe, the larynx, the glottis, and other parts that contribute to forming it, with the intention of signifying something. 7.

VI. Men’s voices are as different as their faces, so that one can distinguish them from one another by the voice; and establish Phthongonomy original: "Phtongonomie"; a term coined to describe the systematic classification of voices, or Phoniscopy original: "Phoniſcopie"; the scientific observation or measurement of vocal sounds for voices, just as Physiognomy The practice of assessing a person's character or personality from their outer appearance, especially the face for faces. 8.

VII. The voice of animals serves to signify the passions of the soul, but it does not always signify the temperament of the body. 8.

VIII. The voice of animals is necessary, and that of humans is free implying humans have the agency to choose when and how to speak, unlike animals acting on instinct. 10.

IX. The voice is the matter of speech, and only man alone speaks. 10.

X. To determine if man could speak or sing if he had never heard words or sounds. 11.

XI. Suppose that children were raised in a place where they heard no speech: to know what language original: "idiome" they would use to speak among themselves. 11.

XII. To determine if one can find the best language of all those that can express the thoughts of the mind. 12. See the 47th Proposition of this book.

XIII. How many kinds of sounds man can make with the mouth and the other organs of the voice and speech. 13.

XIV. If nature had not given the voices that express the passions: to know if one could invent the same ones she uses, or more suitable ones. 14.

XV. One can sing Chromatic and Enharmonic music Ancient Greek musical genera involving small intervals like semitones and quarter-tones, and produce the major and minor tone, and even the Comma a very small musical interval, specifically the difference between two slightly different versions of the same note in different tuning systems in all the places one wishes. 16.

XVI. To explain how the low and high pitch of the voice are made. Where the questions of Aristotle on this subject are explained. 17.

XVII. Whether it is easier to lead the voice from a low sound to a high one, than from a high sound to a low one. 22.

XVIII. To know whether it is easier to sing by conjunct degrees stepwise motion between adjacent notes than by separate or disjunct degrees leaps between non-adjacent notes. 27.

XIX. To determine if one can know with certainty which is the low or high pitch of the sound one hears. 27.