THE FAMILY MINSTREL. NEW YORK, APRIL 15, 1835. TO CORRESPONDENTS. The contribution of "W. R. D." of this city, is very welIt shall receive an early notice. come. The communication of an esteemed clerical friend in Manchester, Vt., has been received. In our next number, due use will be made of his valuable hints. Our faithful friend and patron, "C. F. W." of Easton, Pa., who wishes to see in our columns a good Constitution for a Sacred Music Society, shall have the satisfaction of seeing the best we can furnish. And we now respectfully ask our correspondents, to submit to us such hints as they may deem useful. In answer to the question proposed to us by "J. C." of Baltimore, we would say, that he will be informed on the subject in a few days. We thank him for his good wishes. Among the many co-adjutors in our city, who have aided in extending the circulation of our work, we would here make our grateful acknowledgments to Messrs. T. Hastings, Geo: Andrews, C. A. Fairbanks, Joshua Hall, and W. W. J. Edson. It shall be our endeavor, to merit continuance of their patronage, and that of other practical and competent men, in the department of Sacred and Family Music. THE MUSIC IN OUR PRESENT NUMRER. The Sacred Song by O. Shaw, which has a place in our present number, is the same that is mentioned in the interesting communication of our correspondent "C." The Easy Lesson, which has been kindly contributed by our correspondent Mr. W. NIXON, is the first of a series which we propose to insert from time to time. MASSIMINO AND PESTALOZZI. The editor of the New England Spectator must not suppose, that by our citation of the words of Mr. Bartlett, we necessarily adopt his opinions. We are not fully prepared to discuss the merits of this subject, but are very willing to receive any light in regard to it. GAZETTE MUSICALE. A musical journal, called "La Gazattee Musicale de Paris," is now published in that city. It was commenced last year, and a number of it appears every week. Its object is to improve the taste of the metropolis, and to discourage that false ambition of style, into which French music has so greatly degenerated. Through the kindness of a friend, we have had an opportunity of examining those parts of the work which have already appeared; and we have the promise also of seeing the successive numbers as they are issued. The editor complains of a prevailing corruption of style, from the ridiculous frivolity and mediocrity of certain popular performers," par la frivolité et la médiocrité de plusieurs musiciens en vague, au point que, aujourd'hui, le goût dominant est un sujet de dérision pour toutes les personnes raisonnables." Several items we have selected, for translation, and insertion in our columns. SUNDAY OPERAS. Among the operas and concerts for each week, as announced in the Paris papers, there is to be found the COMIC OPERA, (Opera-Comique,) which is open every Sunday! The thought that such a state of things may at any time exist among us, is so repugnant, that we look, with not a little apprehension, at the Sunday evening concerts, which have of late been permitted in our city. It becomes every one, who reveres the civil institutions of our country, and the laws of GOD, to take good heed, lest he be an accomplice in such acts of desecration. GREEK MUSIC. THE GAMUT. The Greeks, in their Movský or Music-art, had seven notes, consecrated to the seven planets. 1. 'YTáTE, HUPATE, to the Moon. 2. Пlaρνπáτη, PARUPATE, to Jupiter. 3. Aixavós, LICHANOS, to Mercury. 4. Méon, MESE, to the Sun. 5. Пapaμéon, PARAMESE, to Mars. 7. Nirn, NETE, to Saturn. They had also four principal modes, as they entitled them: the Phrygian, the Doric, the Lydian, and the Ionic. The Phrygian was religious; the Doric, martial; the Lydian, plaintive; and the Ionic, gay and sprightly. THE LYRE. The most famous among the stringed instruments of the Greeks, was the Ki0ápa, Þóppive, or LYRE. In the earliest accounts given of it, the strings are said to have been of linen thread. Afterward, catgut was substituted, with a great effect. There were at first only three strings to the instrument, on which account the Lyre called by some classic Greek writers Trichord. In process of time, however, the number of the strings was increased to seven. MUSICAL CONVENTIONS. At Lenox, Mass., a Convention was recently held, and a county association for the promotion and improvement of sacred music, was formed. do. V. Presidents. Executive Committee. Robert Worthington, Lenox, Secretary, Trcasurer and Librarian. Geo. Rockwell, Lanesborough, W. W. Witherell, Dalton, E. C. Root, do. Sam'l. Churchill, Stockbridge, W. M. Battelle, Gt. Barrington, James Warriner, Pittsfield, Samuel Walker, Harvey Holmes, N. Marlboro', The Annual Meeting of the Association, is fixed at Lenox, on the Thursday after the second Tuesday of September, at one o'clock, P. M. Other Meetings, for the purpose of practice and improvement, are to be held in different parts of the County, (Berkshire,) at such time and place as the Executive Committee shall judge expedient. The next meeting of the Association will be held at Dalton, on the first Thursday in May next, at one o'clock, P. M. At the close of the last month, a convention was held in Manchester, Vt., for the purpose of improving sacred music. Similar movements were also made in Rutland county. All these facts we hail with joy, and put on record with great satisfaction. We indulge the hope, that these county meetings may eventually lead to such a General Convention, as was suggested in a former number of our work. MUSICAL SOCIETIES. A Sacred Music Society at Pittsfield, Mass., numbers about forty members, zealously engaged in their good cause. On the 11th day of February last, they gave an Oratorio, consisting of selections from Handel, Haydn, Chapple, Beaumont, Jackson, O. Show, M. P. King. Kent, Nauman, Schwindell, Pond, and J. C. Andrews. It was proposed to give another Oratorio, on the 2d instant, to consist of pieces selected from Handel, Haydn, Beethoven, and Hastings; but we have as yet seen no account of the performmance. This Society was organized in November, 1833. Its present officers are John C. Andrews, Music Conductor. The instrumental performers supply four violins, three flutes, one clarionet, one bassoon, two violoncellos, and a double bass. The vocalists are eight first and eight second trebles, eight bass voices and four altos. Well acquainted as we are with the talent and zeal of Mr. J. C. Andrews, we see in them a sufficient pledge of this Society's success. THE AMHERST ROSSEAUNIAN MUSICAL SoCIETY was instituted in September, 1833, at Amherst, in Mass., Mr. Erastus E. Masey was then chosen President, Solomon T. Fay, VicePresident, Clark Winslow, Secretary, and Levi D. Cowles, Treasurer. A prudential committee also was elected, consisting of three members: George Baker, William Hawley, and E. Warner. After continuing a year in active operation, the Society gave two concerts, which were effective, and added a new stimulus to the cause. present officers are Solomon T. Fay, President. The Society holds weekly meetings; they number among their instruments, a piano-forte, a violin, a viola, four flutes, two clarionets, two violoncellos, a bass viol, a trumpet, a bugle, and a trombone. The whole number of vocal and instrumental performers, is a hundred and ninety-one. The salutary influence of such associations, properly conducted, must be great, in affording to the members rational and innocent recreation, and in creating a sound musical taste. SACRED CONCERT AT HARTFORD, CONN.,Two concerts of Sacred Music have recently been given in that city, under the direction of Mr. Wade, who is laboring with merited success among the friends of music there. The performances are much commended. As the musical taste of the people of Hartford is deservedly held in high repute, their estimate of Mr. Wade is a flattering tribute to his talents. CONCERT AT SCHENECTADY, N. Y.-A concert was given in the Dutch Church at Schenectady, on Monday the 23d ult., which is well spoken of. Were we in possession of particulars, we would readily furnish them; but all the notices which we have seen are very general. "TO JESUS THE CROWN OF MY HOPE." A Sacred Song. BY O. SHAW. COPY-RIGHT SECURED BY THE AUTHOR, ACCORDING TO ACT OF CONGRESS AND PUBLISHED IN THE MINSTREL, BY PERMISSION. 4 04 4 4 Maestoso. 3. Dissolve thou the bands that detain My soul from her portion in thee; 2. My Saviour whom absent I love, 4. When that happy era begins, And no longer pain with my sins, EASY BY W. NIXON. [CONTRIBUTED TO THE MINSTREL, BY THE AUTHOR.] SELECT EXTRACTS. MORN. In imitation of " Night," by Montgomery. BY MRS. J. L. GRAY, OF EASTON. The eyelids to unclose; Spring from the arms of sleep, and break The fetters of repose; Walk, at the dewy dawn, abroad, Morn is the time to pray: To send our earliest thoughts away, In the delighted ear! And with that swelling anthem raise Morn is the time to sow The seeds of heavenly truth, Morn is the time to love: As tendrils of the vine, The young affections fondly rove, And seek them where to twine; Around thyself, in thine embrace, Lord, let them find a resting-place. Morn is the time to shine, As morning dew-drops do; Morn is the time to weep While thoughts are fresh and free- And ask our souls if they are meet Morn is the time to die, Morn is the time to rise- On new-found pinions borne, To meet a Saviour's smile divine :- NIGHT AN EXTRACT. And now the night is full: unnumber'd eyes, Look on us from infinitude; the dome, Whereon they hang, in darker azure lies Round their intenser light; as when the foam Crests the green wave, when larks are hurrying home To plough the surge in wrath, and roll it by The rock, which in that rush still lifts its forehead high. They gather on the far expanded arch, Each in his separate orders, and go on Sweeping the long dark vault in silent march, Until at last the western goal is won, Or on the orient hill the morning sun Come forth and quench their lesser light; yon plain Is a wide list, where higher souls may run In the bright form of stars, and grandly gain The only good reward, which here we seek in vain. PERCIVAL. A late number of the Edinburgh Review contains some critical remarks on Poems, written by a mechanic, commonly called the Sheffield Brazier. The following extract or comparison of the visible glories of the CREATOR, is eminently fervid and beautiful. "GOD said, 'Let there be light!' And fled away; Then, startled seas, and mountains cold And lo, the rose, in crimson dress'd, And, blushing, murmur'd 'Light!' And shall the mortal sons of GoD Be senseless as the trodden clod, By God, our sire! By earth, and hell, and heav'n, Is light, and hope, and life, and power! The week is past, the Sabbath dawn comes on, For sure as this now closing week is past, A thousand graves my footsteps circumvent, I live and pleasure flows through every vein. Want o'er a thousand wretches waves her wand; I, circled by ten thousand mercies, stand; A debt that no intelligence can count, TO THE STARS. Ye brightly beaming stars! Have ye no music as ye roll along? Or is it that to us earth's discord mars The music of the spheres! Was it a fiction of the olden time? Or are there not who hear with wakeful ears That strain sublime? Let thought still hear you raise B. The joyful anthem which ye sang of yore: And as the sons of God then join your praise, Let man adore! BARTON. We made at once in the influence of that man. "The dwellers in the vales and on the rocks THE WAY TO BE HAPPY. The voice of the angel rang like a trumpet in the air, and seemed to wake me as from a trance, while the vision faded before my eyes, and I found myself once more in the porch of the temple. The sun had already gone down; the crowd had withdrawn from the busy haunts of the day, to seek rest and refreshment from their labors; and the solemn stillness of the evening, with its cold and quiet clouds, concurred in the solution of my doubts to calm and tranquilize my mind. Such, my son, was the vision which the prophet deigned for my instruction, and not for mine only, but for yours, and for all who wander in the pursuit of happiness. Thou hast sought it in the things of this world, and it is therefore that thy hopes have been deceived. Thou hast followed thine own heart's desire, and hast looked for happiness in pleasure, and in the gratification of passion and of sense:-thou hast been guilty of indifference, yea, unkindness to others, which is a grievous sin. Therefore thy soul loatheth the flesh that it lusteth after-the wine of the vintage has tasted as the waters of Marah, which is bitterness; and no man hath loved thee. Repent, therefore, and amend; be gentle, be pitiful.Look to the poor, do good. Make others love thee, and thou shalt be happy. TWO DOLLARS A YEAR,] VOL. I. A REPOSITORY OF MUSIC AND POETRY. "LET EVERY THING THAT HATH BREATH PRAISE THE LORD."-Ps. cl. ORIGINAL COMMUNICATIONS. CHINESE MUSIC. Translated from the "Gazette Musicale de Paris," FOR THE FAMILY MINSTREL. [For the following communication we are indebted to the pen of an accomplished lady; and while we thank her for this favor, we would add, that any original or selected articles with which she may be pleased to favor us, will be cheerfully welcomed to a place in our columns.-ED.] The gigantic empire, which forms the eastern part of Asia, and which is already so remarkable in many other respects, presents also an interesting theme for consideration, in regard to Music. In the sixth volume of his memoirs on the history, the sciences, the arts, &c. of the Chinese, Father Amyot has evidently given an exaggerated description of Chinese Music; but his commendation is considerably modified, if not entirely destroyed, by the recent observations of PARO, TACARTUEY, and LA BORDA. It appears, however, highly probable, that these last mentioned writers were incapable of justly appreciating the real nature of the national music of China, which is so intimately blended with the state of society, and the genius of the people. The question, therefore, is of sufficient importance to interest the philosophical musician, and to lead him at the same time to present, in its true light, a subject so deserving of scientific research. NEW YORK, MAY 1, 1835. adds, that notwithstanding their acknowledged It is certain that from the foundation of the Chinese empire, its sovereigns have bestowed particular attention upon music. It was looked upon as a science, and it enjoyed these two prerogatives: first, that of affecting the human heart, by the different impressions which it produced upon the soul; and secondly, that of gratifying the mind. In fact, in no other part of the world has music been held in higher esteem than in China, where it is regarded as the science of sciences, and the fertile source whence every other flowed. This is a strong proof, that civilization was first known in China; and thence it extended to countries more or less remote. Indeed, if throughout the nations of antiquity, traces of singing and of instrumental music can It is beyond the possibility of doubt, that Asia, be found; yet it is in China alone, that music is the cradle of mankind, that portion of the globe, considered in a scientific point of view and as where most of the arts and sciences took their a theory of acoustics connected with natural phirise, is also the place where the germs of musi-losophy or mathematics; from which we infer a cal knowledge were first discovered. And it is high state of advancement, in all the branches of also an acknowledged fact, that China, as well as India, for a long time shone pre-eminent, owing to its high degree of civilization; whilst Africa was still shrouded in the darkness of ignorance, and while in Europe the cultivation of the mind was but in its infancy. Of all the musical theories of antiquity, we are at the present day, acquainted with none but that of the Greeks, which in some points, still forms the basis of our modern theory. Perhaps, were we to seek a more intimate acquaintance with the ancient systems of music, we might discover by what means the Greeks have acquired some of their musical opinious, although to all appearance, this art was introduced from abroad, as well as their language, and the essential parts of their mythology. According to the universal sentiment of Europeans, Chinese Music produces upon the ear a harsh and singular effect, quite the opposite of melody. From this account it would seem difficult to admit, that the Chinese could have a very correct idea of music; and yet it is not the less certain, that their musical theory is astonishingly just and accurate. Father Amyot relates, that wishing to see whether the scientific music of Europeans would please the Chinese, he performed for them two characteristic works of Rameau, les Sauvages and les Cyclopes. He science. The Chinese have their fables as well as the Greeks. They attribute to their LINGLUN, KOUCI, and BINMOU KIA, who softened rocks, and tamed wild beasts, the same magic power, that the Greeks give to Orpheus, Eyacus and Amphion: "When I touch my deep-toned notes, even the animals come crouching at my feet, trembling with delight." These are the words of the celebrated Chinese musician Kouci, who lived about a thousand years before Orpheus. The Chinese distinguish eight distinct kinds of sounds; and they assert, that in order to produce these sounds, nature has been careful to create an equal number of sonorous bodies, which are: 1st, Metal. 2d, Stone. 3d, Silk. 4th, the Reed. 5th, the Gourd. 6th, Potter's Ware (baked earth.) 7th, Skins of Animals. 8th, Wood.-Metal is considered by the Chinese as a fifth element. From a composition formed of six pounds of copper and one pound of pewter, they make their bells, of which they have three kinds: the Po-thoung, the Te-thoung, and the Pien-thoung; bells, to which these names are given, according to their size, or to the nature of the sound they are intended to produce. The instrument, which has been known in Europe for some years, under the name of tam-tam, is a variety of the three kinds which I here mention. The art of drawing | [PAYABLE IN ADVANCE. NO. 7. from stone, a sufficient quantity of sound, to form a musical instrument, belongs to the Chinese alone; for no other nation has ever made a similar attempt. The sounds that proceed from stone hold a middle rank between those of metal and of wood; they are less acute than the former, and more sonorous than the latter. These stones are exposed to the sun, in order to give them a sounding quality. It is by uniting sixteen stones prepared in this way, that the Kius is constructed; an instrument struck by a hammer, in a manner similar to our clocks. Silk, produces a soft and pleasing sound; from it is formed the KIN, which is composed of five strings; also, the KE, although the latter requires twenty-five strings. The first in some degree resembles a lyre, and is used as an accompaniment for the voice; the second bears some analogy to our pianos, and according to Father Amyot's account, surpasses them in sweetness of tone. The Reed has a note peculiar to itself; and is used in the construction of the SIAO, which is composed of pipes of different lengths, in order to produce intervals, more or less grave or acute. The Gourd PAO, dried and separated into two parts, forms the corpus or body of the GHEUG, the notes of which are very faint. After much time spent in persevering research, the Chinese at last created another wind instrument, made of baked earth. They took a certain quantity of Potter's clay, which they shaped like the hollow of an egg, and then filled with air; after a variety of successive modifications, the FLIUEN was finally completed. It is venerable from its remote antiquity; having been known among the Hoangty, 2637 years before the birth of Christ. The Chinese employ, as we do, the skins of certain animals, for making drums, of which they have eight different kinds. Wood furnishes them with three sorts of instruments; the THOU, the Ou, and the SONOROUS PLANCHETTE, which are in truth, little less, than children's toys. Their notes in music are marked by their alphabetical characters. They write their melodies like the words of their language, in perpendicular columns, which commence at the right-hand. The staves are supplied by strokes of a drum or of castanets. The Emperor Kanghi endeavored to introduce European music into his empire, and was aided in the attempt by two Portuguese Jesuits, (Brerra and Pedrini) who actually arranged a Solfeggio, which was printed in the imperial palace, and distributed throughout the empire. But although, to please their sovereign, the Chinese affected a willingness to submit to this innovation, yet so powerful was the force of the habit, and the attachment of the people so strong and universal to their ancient system of music, that the Emperor soon desisted from his project, and afterwards applied himself to the perfecting of those instruments, that already existed among them. In fine, the Chinese are so partial to slow and simple airs, that all their songs are executed in |