TWO DOLLARS A YEAR,]

VOL. I.

BRIGHT star, that gladd'st the evening hour,
And shedd'st thy fairy beam,
To sparkle on the dew-bathed flower,
Or dance upon the stream!
Where hast thou been the livelong day?
Where hast thou wander'd far?
What lands have seen thy gentle ray ?
Where hast thou been, bright star?
last thou in giddy frolic, stray'd
Where sister planets shine?
Or has on worlds untainted, play'd
That cheery bean of thine?
Or, hast thou on yon fleecy cloud
Reposed, conceal'd from sight-
And mantled in that misty shroud,

Refresh'd thine orb of light?
No-thou hast known no resting there;
But true hast kept thy way,
Content in Phoebus' stronger glare,
To lose thy modest ray.

And now when Evening draws around

And makes thy beam appear,

Thou seek'st to gain thy journey's bound,

And close thy bright career.

So pass my life--From vulgar gaze

Remote and close conceal'd,

May I to duty give my days

And tread the path reveald;
And happy though some nobler name

Leave mine obscure to lie,
May I behold another's fame,
With an unjaundiced eye:
Content within an humble sphere
My earthly course to run,
Unhurt by passion, pride, or fear,
Be all my duty done.
And may I, when my life is past,
(No pang my peace to mar)
One radiant beam behind me cast,

Then sink like thee-Bright Star!

AN INQUIRY

INTO THE ELEMENTARY CONSTITUTION OF THE
Human Voice,—OR

SPEECH, AS A MUSICAL SCIENCE.
NO. VIII.

We concluded our seventh essay on the above subject, by presenting our readers with diagrams representing the upward concrete movement, under two modifications: one showing its application in interrogative expression, -the other, explaining the manner in which it is made use of in emphatic expression. As we shall have occasion again to notice it in its latter character, when the varied forms of emphases are delineated, it will be reviewed, in the present article, as forming the peculiar intonation in which we make inquiries. To prove the power of this upward concrete of the voice, in imparting interrogative expression, we select a sentence having nothing in its construction grammatically interrogative:

"Give Ceasar a statue with his ancestors.”

The above read in the diatonic melody, would convey a request that the Roman Dictator might have a statue for his conquests.

Should the speaker immediately doubt the propriety of the request he had made, he might, by the use of the identical words under a different intonation, convey that doubt to the hearer. The application of the rising concrete third to each syllable, would convey a slight doubt mingled with an inquiry: the application of the fifth to every syllable would tincture the inquiry with a still stronger doubt, while the use of the octave in the same way, would mingle scorn and contempt with the interrogation. We would observe, that the interval must be applied to every syllable. The reason for so extended an application is apparent; the sentence is not interrogative in construction, and can consequently be so rendered only by the power of intonation. That the reader may prove the truth of this position, we now by diagrams, show the effect which the omission of the rising concrete fifth, on the last three syllables, would produce in the interrogative character of the sentence:

Give Caesar a sta-tue with his an- ces-tors. By the above diagram it will be seen, that the interrogative expression of the sentence, although carried to the antepenult-syllable, is destroyed, by concluding the sentence in the diatonic Triad of the Cadence. How different is the effect produced by the continuation of the concrete fifth to the conclusion of the

sense:

Give Cæsar a sta-tue with his an-ces-tors.

The variation in effect produced in these two modes of melodial construction, is in the terval in the latter, and its partial application thorough or continuous application of the inin the former. As some sentences require the diffusion of the interval over every member, and others its partial use only, we shall now inquire whether any rule can be drawn from the peculiarities in the construction, form and purposes of interrogative sentences, which shall decide in favor of the one or the other. Dr. Rush, in his justly celebrated work on the voice, has given us two sentences in the commencement of his section on "Interrogative Sentences," strongly illustrative of the partial and thorough uses of the rising interrogative concretes. The first, which illustrates the partial application, is taken from Shakspeare's Richard the Third, and commences thus,

[PAYABLE IN ADVANCE.

NO. 16.

"Brother, good day! what means this armed guard
That waits upon your Grace?"

The partial intonation is applied to this sentence the interrogative expression being only thrown over "what means this armed guard."

The second example, taken from the same book, is a part of an angry interview between the Queen of Edward and Richard, while the latter is yet Duke of Gloster. The Queen says,

"I will acquaint his majesty

With those gross taunts I often have endured.” To which Richard replies,

"What threat you me with telling of the King ?"

This proud and angry question must have the thorough intonation, or it cannot be expressed with that feeling of insulted pride which the tyrant assumes, if he does not feel; in this replying question, if we may be allowed the phrase.

The modes of intonation cannot in these questions, be exchanged and their spirit preserved. Perhaps this fact may decide how far the form and spirit of an inquiry exerts an influence over its intonation.

We have already shown in our first example, that some interrogative sentences are constructed assertively, and derive their character of inquiry solely from intonation. At times we meet with them constructed by a reversed position of the nominative and the verb, as "Believest thou this?" Again, they are constructed with adverbs and pronouns as their principal members; as, "How are the dead raised up?" "What did he to thee?" They are of a positive or negative character; as, "Think you I will submit ?"-" His beard was grizzled ?" "No?"-They may embrace expletives or assertive clauses, which, although necessary to the filling up of the group in which the interrogation is placed, do not form its principal figure; as,

"What's Hecuba to him, or he to Hecuba
That he should weep for her ""'

"Art thou greater than our father Jacob, who gave us this well, and drank thereof himself and his Children and his Cattle ?"

Or two or more inquiries may be joined by a copulative or disjunctive conjunction. Such are the variety of forms in which an inquiry may meet the eye.

In reference to the spirit or special objects of the interrogation, there may be a real doubt on the subject of inquiry. It may convey a knowledge of the subject; or may be used as tantamount to an assertion of triumph. An example of the first condition may be found in the reply of the blind man to our Saviour: "Who is he, Lord, that I might believe on him?" Questions may be asked with great intensity, as in Hamlet's reply,

sentence has the assertive construction, whatever be its form, it will require the thorough expression. Should the sentence be formed by an admixture of pronouns and adverbs with the essentials, the nominative and verb, it will generally require the partial expression; as in the example,

How are the dead raised up?"

The inquiry in this case, is directed to the manner in which the dead rise, designated by the adverb "how" the interrogative intonation on that word alone will express the object of inquiry. In the sentence,

et

"What did he to thee?"

the point of inquiry is directed to the kind of action which was performed on the blind man, expressed by the interrogative pronoun What," and the partial application of a rising concrete fifth or third to that word, expresses the purposes of inquiry. In the reversed position of the nominative and verb, the application of the thorough or partial expression, will depend on the spirit of the question: if assertively contracted, it will require the former; as, "Art thou a teacher in Israel, and knowest not these things?"

The assertive character of this question, "thou art a teacher in Israel, and dost not know these things," cannot, properly, be conveyed under the partial intonation. The question, "Believest thou this ?" may have the partial form, if the question rests on the act of belief, or on the word "this," as expressing fact, understood.

We have already given an example to show, that sentences interrogative in their character, united with expletives, addresses or assertive clauses, require the partial intonation; as in the example,

"Brother, good day," &c.

To the Editor of the Minstrel :

SIR,-The chaste and beautiful Original Music in your paper of Aug. 15th, adapted to the words "Sister thou wast mild and lovely," forcibly reminded me of the origin of the words, and the circumstances which first gave occasion to them. These facts, among others, are contained in an excellent article published in Abbott's "Religious Magazine," of Oct. 15, 1833,-a copy of which I herewith send you. Besides some valuable hints in regard to imparting musical instruction, the tale teaches us all a useful lesson. I hope, therefore, Mr. Editor, that you will be induced to give it a place in your columns, for the benefit of your readers, espe cially the younger portion of them.

MARTHA JANE.

A PARENT.

WHEN Martha Jane was twelve years old, she was as bright and playful and happy a child as could be found. Her mind was always on the alert; gathering from every quarter instruction for herself, or amusement or pleasure for others.

She had a happy home, and she was the life and soul of the circle of brothers and sisters which gathered around the fireside there. Doing good in this scene was not merely her continual occupation as a duty,—but she seemed to enjoy it as a privilege and a pleasure. She contrived and executed with uncommon ingenuity, a thousand plans to promote the happiness of the younger children, and she watched with almost a mother's fidelity and care, to prevent or to relieve their sufferings and their fears. She was a treasurer for their property, a commander for their enterprises, -a judge for their disputes; their poet, their musician, their story-teller; and when father and mother were sick or busy or away, the little group were always safe and happy under the guidance and protection of Martha Jane.

She was a school-girl too, and though her uncommon maturity of mind gave her a high rank as a scholar, and classed her with those The interrogation, that is, the real object of far above her in age, she yet in her dress, and the inquirer, is as to the unusual appearance of manners, and conversation, carried all the an "armed guard" in attendance upon his simplicity of a child. She was the blithe combrother: the commencement of the sentence is panion of the little girls, their universal a mere salutatory address to Clarence, and its favorite,—the leader of their sports, and often conclusion has nothing, in feeling, with the the authority for their opinions. Sometimes special intention to which the question is di- she might be seen surrounded by a little circle rected. listening to her lively talk or entertaining The example taken from the fourth chapter stories, and at others, you would observe her of John,

"Art thou greater than our father Jacob ?" &c.

though terminated by the interrogative mark, certainly has much that belongs not to the question, and requires not the intonation of inquiry; -the interrogation extends to the end of the comparison between the person whom the woman of Samaria was addressing and he who gave the Samarians the well.

It perhaps might be thrown over the giving and drinking of its water. We think, however, the latter would be a forced construction of the sense. The interrogative intonation should terminate at "Jacob," the residue of the

sentence being read in the diatonic melody. Such an application of intonation adds not only to the perfect illustration of the sense in this question, but also to that varied melody which is always pleasing, as a relief to monotony. We shall continue the subject of interrogative intonation in our next paper. B.

MANNER AND MATTER.

HE who thinks more of the manner than of the matter of a speaker, will never profit by his words..

during a recess, mounted on a chair in a corner of the room, with her young companions crowded around her, to join in some simple, cheerful tune, or to repeat the lessons she had received at the Juvenile Singing School.* Many can remember now with what adroitness she would imitate at such a time, the tone and manner of a teacher, and how pleasantly her clear, musical voice led the song.

Martha Jane loved her books. No stimulus from without was applied to urge her forward in reading and study. She went quietly on in the performance of duties prescribed, and also in voluntary efforts to which she was allured She read by her ardent love of knowledge. with deep interest, and pursued her studies with industrious, persevering attention, and She consequently with distinguished success. loved to write. Many a diverting, and many

a serious and useful article did she communicate among the exercises of her class, or of the

⚫ She possessed an uncommon talent for music, and composed several pieces with accuracy and in good taste. One of her compositions, "Mount Auburn," may be found in the last edition of the Choir.' L. M.

school. At one time she would amuse her companions with a humorous description of a blackberry expedition, or of ludicrous scenes in a badly managed school, and at others with dialogues drawn from life, illustrating the character and habits of a faithful school-girl, or of a dutiful child.

She noticed

Martha Jane loved nature. every thing which came under her observation, and wherever she was, she found enough to occupy her powers. The most common operations of nature she often examined and admired, seeing in them illustrations of philosophical or chemical principles. Even the sight of a rough stone would sometimes excite her curiosity. She would inquire into its composition, find out its name, and then from the fragments into which she had broken it,—because, to use her own expression, "there might be something inside," she would select a specimen of convenient size, label it, and give it a place in her little museum,-a neatly arranged collection of minerals, shells, dried plants, insects, and other wonders of nature and art.

But years moved on, and at length Martha Jane ceased to be a child. She approached maturity. How bright life must have looked to her! How fair her prospects of happiness!

During the summer which has just closed, her health began gradually to decline, and there were some symptoms which indicated a disorder of the brain. She was weak and languid and dejected in spirits. One summer evening I called to see her. It was the evening previous to my setting out upon a journey, to be absent a week or two, and I wished to see her before I went away. Her eye brightened a little as I entered, but it soon sunk to an expression of languor and dejection, and during the half hour that I remained, she sat in a rocking chair in the parlor, listening to the conversation I held with the other members of the family, but taking no part in it. She was silent and sad.

She told me, however, in answer to my inquiries about her health, that her head was bewildered; she could not command her thoughts. How," said I. "What sort of thoughts

and feelings do you have?"

"Oh, every kind;" said she.

"But can you not give me an example ?"

Why, sometimes my mind gets possessed with the idea of a carriage running back down hill, and I cannot stop it or get it out of my mind. I imagine a stone brought up against the wheel, and it goes right through the stone, Then I think of a post and a wall, but it presses through them. It seems as if nothing would stop it, and I cannot get the idea of it out of my head. At other times I cannot help thinking of a shovel and tongs falling down. They fall again and again, and I cannot stop them. I try to get them away, or to imagine them in some corner where they will stand; but all I can do, they will keep tumbling down."*

At another time she said, that her thoughts would run upon the idea that she was trying to pour water out of a pitcher into a tumbler, in the dark, and that she could not help spilling it. She would struggle in vain either to banish the subject from her mind, or to imagine the water to go right. These disordered thoughts were generally, through a mysterious sympathy between the different organs of the body, attended with nausea.

Her sight was sometimes affected in such a way, that she

I bade her good evening, and slowly returned to my home. The first thought on the way was, "How delicate is the constitution of the mind, and how dependant upon GoD we are, for the command of its powers!" The second reflection was a more serious one: "Is it not possible that Martha Jane is about to be seriously or even dangerously sick?"

A week or two afterwards, on my return from my journey, I called at the house. The domestic opened the door gently, and I walked in without speaking. I was conducted up stairs, into a sick chamber. My readers have all been into a sick chamber, I suppose, and know what it is. The circumstances are in a thousand cases essentially the same. There is the silent and sorrowful father, the anxious and agitated mother, the brothers and sisters, overwhelmed with grief,-and the poor patient insensible to the scene of sorrow and suffering which surrounds her, lying upon her bed as if in sleep, fanned by a kind neighbor, who has come in to share the sorrow she cannot relieve.

I walked in and stood a few minutes by Martha Jane's bed-side, looking upon her pale face, in silence. There was nothing to be said. The first glance at the room, as I entered the door, told me all.

As there was nothing to be said, so there was nothing to be done. It would have been a relief if we could have found employment in doing something to save life, or at least to relieve suffering. But, no. To save her now was out of the question, and as to suffering, there was none to relieve. There she lay in what was unquestionably, to her, a peaceful, quiet slumber. Her countenance indicated repose. It was pale, but there was no expression of suffering, not even of restlessness upon it. We knew that we had nothing to do, but to leave her in God's hands, and to wait quietly

till she should cease to breathe.

could see only half of a thing at a time. "Do you see me?" said her mother to her one day, after this time, when she was lying almost insensible upon her bed. "I see half of you," she replied faintly. Her whole side was at length paralyzed,-lost to all sense and feeling.

These mysterious effects were undoubtedly produced by disease of the brain, though many of them seem to be almost purely intellectual. We are indeed fearfully and wonderfully made!

2 4

Parental grief, which otherwise, in such a case, would have been overwhelming, was assuaged here by the influences of piety, which soothed anxiety, and quieted fears, and brought resignation. We knelt round the bed-side, and earnestly presented, once more, the supplications which had for years been offered for this child of prayer. It was the last opportunity. We implored the forgiveness of her sins through a Saviour crucified for them, and commended her spirit to that Saviour's care.

One evening soon after this, I left her chamber with the conviction, that I should not see her again alive. Her breathing was labored, and interrupted. Her countenance had assumed the expression of death. Her forehead was damp, her eyes closed, and her pulse fluttering. An hour afterwards, she moved, raised her arms from the bed, crossed them upon her breast,-sighed deeply, -and breathed no more.

It was Saturday night, and on the Sabbath following at sunset, the church was filled with a silent and solemn assembly, which had come together to hear her pastor's prayer over her lifeless remains, and to listen to his interpretation of the solemn lesson which this death was intended to convey. The services being over, the congregation took their seats, and waited in silence while the mourners formed at the door, in carriages, the melancholy train which was to accompany Martha Jane to her long home. When the procession moved, the choir of which she had been the ornament and the pride, sung to her a last farewell.

My story might stop here, but I must mention one thing more. On the next Tuesday, when about a hundred young ladies, former and present pupils, collected in the Mount Vernon School-room, to take the singing lesson, every one thought of Martha Jane; and the plaintive airs which the teacher wrote, one after another upon the black-board, as the exercises of the day, deepened the impression. He wrote at last the following tune, and after they had sung it once or twice, the words below were repeated to them line by line, and sung by all. A few days afterwards the teacher presented each pupil with a copy in the following form:

When the study-card was dropped at the close of the hymn, indicating that the exercise was ended, and which is usually the signal of universal liberty, hilarity and glee, it produced no effect on the still and sad assembly. Not a scholar spoke,-not one left her seat,-but there was a long and silent pause, during which many a tear was shed to the memory of the loved Martha Jane.

Reader, whenever GoD in his providence, cuts down such a flower as this in its prime, it is intended to teach all who see the stroke, a useful lesson; and when circumstances are such that the sad tale can be told to others, it is equally a warning lesson to all to whom it may come. Its useful influence upon others thus often far overbalances the sorrows and sufferings of the sad circle which is bereaved. Receive this story then, reader, as the voice of GoD to you, warning you of the uncertainty of life, and the urgent necessity of preparing now, to die.

NOTE. We presume, that Mr. LOWEL MASON is "the teacher" referred to in the foregoing article. The initials "L. M.," would seem indeed to warrant such a conclusion.-ED.

SELECTIONS.

SACRED SONG:

MUSICAL REVOLUTION IN SWITZERLAND.

THE Susceptibility of strong mental impressions from music, is one of the natural faculties with which our Creator has endowed us. Is there not reason to fear that its importance is not sufficiently appreciated, and its powers not sufficiently called forth? The early history of all nations presents instances of its wondrous efficacy. Witness the first periods of Greece, Britain, and Scandinavia, and the national songs of Tyrtæus, whom Plato apostrophises as the divine poet, wise and good. Aristotle, though often disposed to contest his master's doctrines, concurs with him here, in attributing to music a great moral power. By divine institution, sacred song, of which we have the inspired remains in the Book of Psalms and other parts of the Old Testament, formed almost the only social worship of the Hebrew temple.

At the Reformation this grand instrument of emotion was not entirely overlooked. Unhappily, in England and Scotland, either it was not put into action, or the attempt was ill-conA ducted and abortive. In France, for a time it produced great effects; of which some interesting notices are given in the delightful compilations of a pious and talented lady, lately given to our country, "The life of Olympia Fulvia Morata." But the counteraction and destruction of the Reformation in France, brought down what remained to them of national song, to the wretched state of chansons and chansonetts, the best of which were mere conceits, often tame and silly, and the generality of an immoral character; and, by a just judgment, the music became worthy of the song, it was screaming by notes.

"Yet again we hope to meet thee,
When the day of life is fled,
Then, in heaven, with joy to greet thee,
Where no farewell tear is shed.

In Germany, the music took a better course. The German tribes had been always addicted to music of great pathos and compass; and their language, unpolished as it was, by its copiousness, flexibility, and strength, gave them a great advantage over the French. Luther had ear, science, and execution. While by his version of the Bible, every line of which

bears witness to his euphonic taste and judgment, he stamped the language with classical dignity; his hymns and his music, powerfully seconded by other and superior poets, poured the stream of sacred melody through the land. No country can pretend to vie with Germany in the richness of its religious music. Its stock of hymns, beginning with the age of the Hussites, but of which few are even now obsolete, is moderately stated at seventy thousand: a late writer in the Archives du Christianisme (June 28, p. 95,) estimates them at more than eighty thousand. Great Britain can scarcely pretend to the twentieth part of this number! This astonishing amount of the German hymnology is characterized by a decided strain (very few indeed are exceptions) of evangelical sentiment and experimental piety; their versification is most mellifluous, and their tone full of tenderness and power. It is a popular treasure of doctrine and practice; and it has been a grand means of keeping the flame of religion glowing on the cottage-hearths of the peasantry, in many happy instances, when a spurious gospel had taken possession of the churches.

The band of devoted men in France and Switzerland, who are "laboring so much in the Lord," have not forgotten this department. In both those countries, vigorous efforts have been lately made for the restoring, or to speak more properly, the creating, of a French national psalmody. Among these, a distinguished praise is due to Dr. Malan. Many new psalms and hymns have been produced, possessing excellence of both poetry and piety: and suitable melodies have been composed. Besides Dr. Malan's volume, the Paris Croix de Cantiques has arrived at a third edition; and a large volume, beautifully printed, with the musical notes, has been this year published in that city, with the title Chants Chrétiens. Some articles, peculiarly valuable as to both science and Christian spirit, have appeared on this subject in the Archives and the Sémeur.

That these are among the means by which "the Lord whom we seek, is preparing his way, and coming to his temple," is a persuasion which seems to be powerfully confirmed by a most remarkable phenomenon, which is now operating on a grand scale in the Canton of Vaud, and of which we have a large narrative in the Sémeur of July 16.

[Our next number will contain extracts from this narra. tive, abridged from the Evangelical Magazine, from which work the above article is copied.-ED.]

ACCOMPANIMENT.

WE were recently compelled to hear a fashionable flute player attempt to accompany (?) the treble singers in a house of worship, who played in octaves, cut his flourishes, &c., &c., to the complete destruction of all devotion in the exercise. In our apprehension, such conduct is impiety in the sight of God. In our view, it would be just as proper for some merry andrew to take his station near the preacher, and go through with his pantomimic pranks, and pretend that he is assisting to enforce the sentiments of the speaker. When will instrumental accompanists learn that their place is subordinate, and that perfection in their art is to attract the least attention ?

Boston Spectator.

THE MINSTREL.

NEW YORK, SEPTEMBER 15, 1835.

TO CORRESPONDENTS.

The original Music adapted to the words "Ye angels who stand round the throne," &c., is under consideration.

We thank "R. L. W." for the Round, composed for the words "Lord, dismiss us with thy blessing," &c. It shall soon be inserted. We welcome him as a new correspond. ent, and hope to hear often from him.

Another new correspondent "R. L. C.," has favored us with an original Sacred Duett-"Go, when the morning shineth." Our Virginia contributor is welcome to the pages

of the Minstrel.

"T. P. S's" paper on the "Education of the Blind," shall have a place in our next.

"The influence of a Musical Education, No. 2," and several communications relating to the "New York Academy of Sacred Music," were received too late for this number. They shall be attended to without delay.

What has become of our correspondent "E." of Brockport, N. Y. We have been waiting several days for his Essay No. 2.

PREMIUM FOR ORIGINAL ANTHEMS.

A gentleman who is about publishing a book of Sacred Music, is desirous to obtain for its pages two or three Original ANTHEMS or SET PIECES. He has authorized the Editor of the Minstrel, to act as Agent for him in this matter, and placed at his disposal a sum of money, for the purpose of renumerating the successful competitors. The publisher mentions as suitable subjects, the Hymn commencing "Salvation, O the joyful sound," with the chorus, Glory, honor, praise and power," &c., (which may be found in most of the Hymn Books,) — and also the following words:

1. Sing Hallelujah! praise the Lord! Sing with a cheerful voice; Exalt our GOD with one accord,

And in his name rejoice:

Ne'er cease to sing, thou ransom'd host,
Praise Father, Son, and Holy Ghost!
Until in realms of endless iight,
Your praises shall unite.

2. There we to all eternity

Shall join the angelic lays,
And sing in perfect harmony

To GoD our Saviour's praise; "He hath redeem'd us by his blood,

And made us kings and priests to GOD.
For us, for us the Lamb was slain."

Praise ye the Lord! Amen.

Authors can, however, choose their subjects,

and no limit is assigned to the length of the compositions. Address, the "Editor of the Minstrel, No. 146 Nassau street."

An anonymous writer in the last number of a contemporary journal, has evidently gone considerably out of his way to notice the MINSTREL.- -We thank him for his apparent willingness to serve us in the cause we have in hand, and trust our work may be widely circulated by his disinterested exertions in our behalf! Perhaps "A Major" will find it to his interest to leave the "Back Woods," and take up his residence in our good city of Gotham: at all events, we shall welcome him here, by an appropriate address in our next number.

JAMAICA SACRED MUSIC SOCIETY.

A FARTHING RUSH LIGHT.

The editor of the Family Minstrel, of New York, says in effect, that he is the sole author of Dr. Rush's work on the human voice. By the same rule, should you insert the tenth chapter of Isaiah in your Minstrel, arxl should any one preach from that part of the bible on the subsequent week, you would accuse that preacher of plagiarism-won't you?-Pawtucket Chronicle.

This, we presume, is intended as an answer to the article in our 14th number entitled " Credit and Newspapers." Since the prompt editor of the "Pawtucket Chronicle" is so apt at answering questions, we will propose a few more touching the same subject. We hope we shall be excused for our plainness of speech.

Sir, did you ever consult Dr. Rush on the Voice? and if so, did you base your remarks in the article under the head "Hurried Speaking," on the knowledge derived from that work? Come, speak out plainly and honestly, -Did you not read Dr. Barber's Essay No. 5, in the MINSTREL, where it appears as original, before you penned the article alluded to? And did you not, for some reason best known to yourself, use the precise language and punctuation of Dr. Barber, in a large portion of it?

N. Y. SACRED MUSIC 8.0 CIETY.

This Society resumed its meetings on Monday evening, the 7th inst. We understand it is the intention of the Directors to present several new pieces during the season. Mr. Horn's new Oratorio, the "Remission of Sin," will also be repeated. Several judicious curtailments have been made by the author, and also various minor alterations and some additions, which, it is thought, will render the piece more effective, and consequently more acceptable than it was last spring, when first performed.

HALLOWELL HARMONIC SOCIETY.

A friend from Hallowell, Me., informs us,that this Society is exerting a very favorable influence in regard to Sacred Music, among the inhabitants of that section of the United States. By a standing rule, they give at least four public performances during the year; and these, we are glad to hear, are well attended, and meet with decided approbation, not by clapping and stamping, as in New York! but by far less equivocal evidences.-In years gone by, we had the pleasure of being personally acquainted with many of the leading members of this Society, and know them to be persons well calculated for the stations which they fill. Mr. PAUL STICKNEY is the Conductor. As our paper circulates to some considerable extent in Maine, we intend soon to give further particulars of the Harmonic Society, and, probably, some account of other Music Societies, Choirs, &c. Will not some of our patrons in that State, furnish us with the information?

TEACHERS WANTING SITUATIONS.

Agreeably to the suggestion thrown out in our 14th number, we have received applications from two gentlemen of good moral character, and who have had many years' experience in the business. They wish to make engagements immediately for the ensuing season, as Teachers of Music, in Schools and Churches. Further particulars may be learned, by applying to the Editor of the MINSTREL, No. 146 Nassau street.