unison, and they even avoid the use of semi

tones.

With regard to the fact, that for thousands of years, music has remained entirely stationary in China, the true reason of it may be easily discerned in the apathy natural to the Chinese, in the influence of climate, in their political consti tution, and especially in their religious worship. For there, as in Hindostan, music has always been so intimately connected with religion, that their songs have never been susceptible of more modifications, than the ceremonies of the Priests or the customs relative to divine service.

SEYFRIED..

FOR THE FAMILY MINSTREL.

OLD HUNDRED:

NOT COMPOSED BY MARTIN LUTHER.

MR. EDITOR,-The following observations on the authenticity of the "Old Hundredth Psalm tune," by the Rev. W. L. BOWLES, of Gloucestershire, England, are to be found in his Parochial History of Bremhill. And as the publication of them in your columns, may lead to some further suggestions on the subject, I ask the SIGMA. favor of your giving them a place.

DR. BURNEY admits that the ancient melody of the old hundredth psalm, as a congregational hymn, is sublime, and the composition excellent. On this singular and unequalled, but nameless strain, I shall take the opportunity of making some remarks.

It has been attributed to Martin Luther; but, whatever authority there may be for the composition which we have heard so divinely sung by Caradori, &c., to the words of

"Oh! God, what do I see and hear?'' &c.

I do not fear to say there is no authority whatever for attributing the old English hundredth psalm-tune to Luther. It is found as the melody of a French chanson in four parts, by Claude le jeune, and published in Burney's History of Music. Burney admits it has been attributed to Dr. Dowland. I have in my possession an old collection of psalm-tunes, in which the melody appears, with the name of Dr. Dowland; but before we venture to fix Dowland as the author, let us see whether we can prove it to be English; for it is claimed both by French and Germans. I contend it is strictly English, and I shall be gratified, if, as I think, I shall be the first person to have proved so much.

It is remarkable that Playford, in his collection printed in 1677, says " I have observed and made trial both of French and German tunes, and I do not find but our English tunes, both for air and gravity, well suiting the words, rather to excel than be inferior to them." He adds, "I find printed in the French psalm-book those tunes which we also use the 105th, 112th, 113th, but not able to determine to whom they originally belong!"

Dr. Burney says the same thing; I shall therefore first endeavor to prove that this fine air is

66

originally" English, and neither French nor German. Now I do not fear to assert, that the peculiar accent of the words proves that this tune must have been originally made to these very English words, and to no other; for this tune will not fit (if I may say so) any other words of the whole 150 psalms, and in this, and in no other psalm, the musical accents fall on exactly the proper and peculiar words, where the stress is

The măn is blest, &c. And this will be found to be the case with every psalm, except the identical one to which the tune is given; that is, there is not, in the whole one hundred and fifty, one psalm in which it will fit the four first verses, as it so remarkably does the old English translation of the hundredth; and I contend this coincidence is not only extraordinary, but indeed almost impossible to conceive, unless the tune was made to the words originally.

It is singular that neither Burney, nor any other composer who has paid attention to the subject, seems to have been aware of this strong test of internal evidence; proving, in my opinion, incontrovertibly, that the hundredth psalm-tune was English. I contend again, that it bears not the least likeness to any of the tunes in the German book of Psalmody. There is not one whose melody is so flowing, and there are no words in German or French, to which it is so completely adapted as the English; nor has it the complexion, if I may say so, of the French or German school, any more than an Englishman has of a foreigner.

I therefore consider the hundredth psalm-tune, from internal evidence, to be originally and intrinsically English. Who then composed it? This we shall perhaps be able satisfactorily to determine. I have said, I have an old book of

psalms in which the air is given, as a matter without doubt, to. Dowland*; the description is this"100th psalm, by John Dowland, Dr. of Musicin four parts." The same book contains the beau* Dr. Dowland was the celebrated lutenist in the reign of Queen Elizabeth, and he is thus spoken of by Shakspeare, in a sonnet, entitled,

TO FRIENDLY CONCORD.
If music and sweet poetry agree,

As they must needs (the sister and the brother,)
Then must the love be great 'twixt thee and me,
Because thou lov'st the one, and I the other.
DOWLAND to thee is dear, whose heavenly touch
Upon the lute doth ravish human sense.

tiful and effective melody to the eighty-fourthHow pleasant is thy dwelling-place,

the name of the composer is also given—“ Wm. Wheal-3 voices."

Now, the reader will remember what Playford has said, that he finds this psalm among the French and German tunes. Dowland, in the preface to his book, called "Pilgrim's Solace," some parts of his poor says particularly, that “ labors had been printed beyond the seas, in eight most famous cities, viz:—at Paris, Antwerp, Colonne, Nuremberg, Frankfort, Leipsic, Amsterdam, and Hamburgh." That this air was printed at Paris, we well know; and we know that five out of the cities here mentioned, were of the Reformed Church, to which this melody, being in the French and German psalm-books, was common; and there were also affiliated congregations in all these cities. Is it not most probable that Dowland might allude to this very air, and which, having been printed at Frankfort, Leipsic, Amsterdam, and Hamburgh, and sung in the Reformed Churches, might have caused a doubt as to what nation it belonged?

When I have proved the air to be English,when no Englishman has claimed it-when it appears in old books with Dowland's name as a matter of certainty-when his own remark agrees with the fact, that at this period in the reformed congregations at Frankfort, &c., this fine congregational hymn was printed, we begin to think, that this sweet lutenist, so celebrated, was its author.

The critical and scientific Dr. Burney speaks most slightingly of Dowland's compositions. But Dr. Crotch, in one of his musical lectures, produced a specimen of this composer's talents, equally exquisite in melody and skillAwake, sweet Love!

a madrigal for four voices.

I think, then, I have proved the fact, that this psalm-tune was, I might almost say, must have been composed originally to these words, and to no other. But it may be observed, that though on the first word of every line, where particular stress and accent is required, this accent is found; yet it is only so found in the first verse! I answer, the same melody could not possibly bend itself, if I may say so, to all the verses in which the stress is laid differently; and this impossibility of adaptation being found even in the psalm itself, convinces me further, that the first verse only of this psalm was that which immediately directed the composer in his ideas of accent. The only words in the first verse which appear not so justly accented, are the words, "That on earth do dwell;" and also," and rejoice!" but these words were, at the time, probably, read as the tune accents them; nor was it possible to preserve, in every word, the strict propriety of accent which accompanies the general euphony of the musical phrase of the tune.

Of the most perfect adaptation of words to a given melody by a person of genius and skill, we have examples; but none is so felicitous as Moore's exquisite words to Millico's song of Ho spars tante lacryme. Fall'n is thy throne, oh Israel! Throughout the song, the dactile, lacrymæ, is beautifully and appropriately preserved in the English words of the song

"Jerūsǎlěm."—“ SōlYmă.”

But no words, unless written expressly for a given air, by a writer of the most consummate skill in this most delicate and difficult task, would exactly, and for four lines together, fit a tune

which was made originally to other words, and those foreign! I think this impossible, taking into consideration also how little the art of adaptation was known or practised at the period; and that in no other metrical psalm in the whole book, can a psalm be found where the stress might, with such strict propriety, be placed upon the first four words of the first four lines.

If, therefore, the tune, as I think I have proved, must have been Euglish, who can have so great a right to be thought its composer as the musician to whom, without contradiction, it has been attributed; whose music (as far as has come down to us) is so exquisite, and so peculiarly marked by the strictest attention to accents; and who himself tells us, that some of his poor works were printed in most of those cities where the 100th psalm we know was sung, and where we have proofs the music was printed.

Let us not forget, that at one of these very cities, some of the Calvinistic party in the Church of England, at the time of the accession of Queen Elizabeth, stayed behind their brethren, who were returned at this period into England, to complete the metrical translation of those psalms which Sternhold and Hopkins had not translated.

But Dowland, it may be said, never published it in his works; or owned it as his composition. This is more than we know, but we may easily account for it. In times when the fame of a musical professor depended on his elaborate science, when Bull, seeing a piece of forty parts, added forty more;-when his elaborate instrumental pieces are so difficult that they would probably defy Kalkbrenner or Moscheles to execute;— when counterpoint was considered so essential to a musician of any high character;-when Bird produced his Canon, the second part of which proceeds all the way on the fifth, the air being the same as the treble, a fifth lower, and the bass be. ing also precisely the same air as the treble, all parts uniting to make up the most consummate piece of skill and harmony ;-Dowland, with any anxiety to stand high in his profession, would not be ambitious to be thought the composer of a mere simple melody, which displayed neither skill in abstruse counterpoint, nor any scientific elaboration of parts; and which, it might be thought, any one could make as well as a professed musician. Many beautiful compositions, I have no doubt, have remained unacknowledged for this reason; but the composition publicly given to Dowland, its being English, as I think I have proved, it having never been claimed, it being sung, we may presume, in the eight cities where Dowland mentions his music as being printed, five of which cities professed the Reformed religion, induces me to attribute this composition, though unacknowledged, to an Englishman, and, if an Englishman, to the musician celebrated by Shakspeare-as Harry Lawes was by Milton.

Playford says, that he has found the 100th, 112th and 113th psalms in French and German books, and cannot tell to whom they originally belong.

If my rule will determine the first, it will the others; and I should pronounce by the same arguments, which persuade me that the 100th psalm is English, that the 112th is not; for all the accents are false, and, according to the tune, must be sung with these unfortunate stresses— THE man is blest that God does fear, AND that his law doth love indeed; His seed on earth GoD will uprear,

AND bless such as from him proceed!

No composer could think of accenting the first word of every line so entirely false, if the tune was made to the words, careless as a composer might be of accents.

The 113th, a popular tune in England, and very commonly used as a chime, fails when it is brought to the same test; and I have no doubt it is German or French, of which it has the cast of character and features, being totally unlike an English tune.

The 100th only will bear, in every line and nearly every word of the first verse, this plain unerring test, of its being originally English. I think the testimony of Ravenscroft, that it was composed by the musician celebrated by Shakspeare, together with all the circumstances, decides it to be English, by Peachman's poor "old friend;" and I shall be happy, after many years of musical dispute, to have placed the chaplet unmoveably on the brows of its author. This is only a part of literary justice, and it is grateful to find the finest congregational melody, which stands as such, unrivalled in the world, to be, after all the discussion, the composition of an Englishman, the author of some of the sweetest and most impassioned madrigals, and celebrated by Shakspeare.

The reader, however, will judge for himself, if he has any interest in such inquiries. At all events, I have endeavored to throw what light I could on a subject interesting to myself, and naturally connected with the topic of parochial music.

CHURCH MUSIC.

ON THE ABUSES OF SACRED MUSIC.-NO. IV.

SINGING OF THE CONGREGATION.

"Omnis spiritus laudet Dominum."

MR. EDITOR,-The next topic to which I solicited your attention, is the singing of the congregation in general. Some writers on church music have supposed that it is no absolute command of GOD that every worshipper should sing in his service; and others again have said, that it is the duty of those Christians who are not found with agreeable voices, to remain silent during the singing, and to make rather melody in their hearts. Without entering into a dispute about the correctness of these remarks, I will briefly prove from the sacred writings, that it is the duty of every Christian to sing the praises of his GOD; and that the singing of hymns and psalms has also been especially recommended by the primitive fathers of the church, as well as by the reformers.

St. Chrysostom, in his commentary on the 40th psalm, says, "that God knowing men to be slothful and backward in spiritual things, and impatient of the labor and pains which they require, willing to make the task more agreeable, and prevent our weariness, has joined melody or music with his worship, that we might with readiness and cheerfulness of mind express his praise in sacred hymns. For," says he, 64 nothing can raise the mind, and as it were give wings to it, free it from earthliness and the confinement it is under by union with the body, inspire it with the love of wisdom, and make every thing pertaining to this life agreeable, so well as modulated verse and divine songs harmoniously composed. Our natures are so delighted with music, that even infants at the breast are soothed and lulled to rest by this means."

Again he says, "Because this pleasure is so familiar and connate with our minds, that we might have both profit and pleasure, GoD appointed psalms, that the devil might not ruin us with profane and wicked songs."

From this remark we may learn that music is essential towards the promotion of pious zeal; but in the 98th psalm it becomes an absolute command: "O sing unto the Lord a new song, for he hath done marvellous things; with his right hand and with his holy arm hath he gotten himself the victory. The Lord hath made known his salvation: his righteousness hath he openly showed in the sight of the heathen. He hath remembered his mercy and truth towards the house of Israel; and all the ends of the earth have seen the salvation of our GOD." And since the glory of GoD is manifested to all lands, ought they not all to join in praising his holy name with instruments and voices? for music is the gift of God, and tends not only to express but to create the affection of joy. It does compose the thoughts, calms the mind, and brings the soul to grateful seriousness; and therefore we find it of as early use in divine worship as any where else.

That it was practised by the early Christians, may be learned from Justin Martyr, who flourished in the year 163. In his Apology to the Emperor Antoninus Pius, he says, "Approving ourselves grateful to GoD by celebrating his praises with hymns and other solemnities."

Numerous passages might be quoted from the fathers in support of my present argument; but let this be sufficient. It remains now only to be shown that no alteration on this subject was made by the reformers. The language of one of their articles is, "that it is the duty of Christians to praise God publicly, by singing of psalms together in the congregation, and also, privately in the family. In singing of psalms, the voice is to be audibly and gravely ordered; but the chief care must be to sing with understanding and with grace in the heart, making melody unto the Lord. That the whole congregation may join herein, every one that can read is to have a psalm book; and all others, not disabled by age or otherwise, are to be exhorted to learn to read." Bishop Burnet says, "That some poets translated David's psalms into verse, and that it was a sign by which men's affections to the work were every where measured, whether they used to sing them or not."

I would now invite you to consider with me the abuse which sacred music suffers from the singing of the congregation; and I shall mention first, that there are but very few individuals in a large assembly of worshippers, of whom we have reason to think that they sing according to the command of God, that is, "with the spirit and the understanding also." The clergyman gives out his verses by saying, "let us sing to the praise and glory of GoD," &c., and some of the people do arise; it furnishes them with an occasion to gaze through the church, and to direct their eyes towards the organ, [or to the singing gallery ;] others remain upon their seats in various postures, denoting apathy or weariness. The tune does not please them; the poetry is not smooth; the organist plays too loud or too soft; and more such thoughts occupy their attention, which frequently become the topics of conversation in the pew, or on the way

from church. But it happens that this kind of worshippers generally know the least of music. It is not with philosophy and science as with other arts; and what can those say of geometry or music who have never studied them? They must either hold their tongues or talk nonsense. Others again, who feel that they have a "spirit" to sing, torture and torment the music for want of "understanding;" while some, with an accurate knowledge of the science, are totally destitute of the proper spirit, and think it not fashionable to sing in church. The choir lead the singing, the organist accompanies their voices, while the congregation, with uncertain steps, follow them; and thus it happens that the exercises frequently become coarse and even ridiculous. The thoughtful and reflecting Christian comes to the conclusion that it would be far better never to sing in GoD's service than to sing out of tune; that is, not in harmonial concord or agreement. For as concording unity in music, is a lively and very significant illustration of GoD, and of heavenly joys and festivities, so on the contrary, jarring discords are as apt an illustration of the wicked one or hellish

tortures.

Now I would ask, what excuse have Christians for thus bringing into the sanctuary "the lame or the sick?"-that which costs them nothing? Do they suppose that such a wilful neglect in the performance of their duty would be acceptable to God, and edifying unto men?

We are commanded "to sing with the spirit and the understanding also," and singing implies not only a tunable voice, but skill in music; for music either is or is not an art, or something which nature and instinct do not supply; if it be allowed that title, study, practice, and experience, may at least be as necessary to its attainment as to that of a mechanical trade. Who would employ a mechanic, who had not learned his trade? and I doubt whether one could make a shoe, or a suit of clothes, without learning to do so, or serving as an apprentice; and yet in our churches all are to sing, and how small is the number of those who have availed themselves of proper instruction! I think this neglect is altogether inexcusable, as music is such an important part of the Christian service; especially as the facilities for its practice are so great and so easily obtained, and we live in an age when musical talent is so profusely rewarded in every other instance. The Jews, as we are taught in the 1st book of Chronicles, 25th chapter, were instructed to sing: "GOD gave to Heman fourteen sons and three daughters, and all were under the hands of their father for song in the house of the Lord."

May it not be ascribed to the want of musical talent that so many professed Christians appear gloomy and morose? Luther seems to have thought so when he says, "that music is one half of discipline, and a schoolmistress that makes men more gentle and meek, more modest and more intelligent."

I know that some Christians are opposed to music because it regulates the movements of the dance; but I doubt whether we are permitted to indulge in such reasoning. It is indisputable that music is the only one of all the arts which does not corrupt the mind. It may be applied to licentious poetry; but the poetry then corrupts the music, not the music the poetry. We know also that the thanks and praises of men

are the noblest incense that can be offered up to GOD, and yet Christians seem as little disposed to avail themselves of this privilege, as if it was of no importance whatever. They learn to read; teach it, perhaps, on the Lord's day, to others; but they do not learn to sing, nor do they make any effort to cultivate and improve their voices. Happy for them that "speaking to one another in psalms, and hymns, and spiritual songs, singing and making merry unto the Lord," are not deemed essential to the Christian character in our day.

Would it not be advisable for the congregation to meet together and practice the songs of Zion? The Sunday afternoon or evening might be as profitably selected for this purpose as for any other devotional employment. The tunes would thus become familiar, while the sacred poetry distils truth in the heart; Christians would then sing, not only in church, but also at the daily morning and evening sacrifice in their families. It is certain that nothing so greatly enlivens family devotion as sacred music. It has a soothing influence to wean the mind from those earthly cares which are the "burden of the week;" it relieves weariness, it raises the affections, and is thus an admirable preparative to the solemn exercises that succeed.

Some of the fathers, according to Sir William Temple, went so far as to esteem the love of music a sign of predestination, a thing divine, and reserved for the felicities of heaven itself. We learn at least from the sacred scriptures, that the most sublime enjoyment of the blessed consists in singing eternal praises to the Most High; and I doubt whether man has a right to abstain from so sacred a duty. The royal musician calls upon every one when he says, "Let every thing that hath breath praise the Lord." No infirmities of nature, or want of musical taste, can excuse us from the duty; cherubim and seraphim, the most lofty angels who surround the ethereal throne, the heaven of heavens with all its hosts, the glorious firmament, the sun, the moon, the stars, the visible creation with its dragons and deeps, fire and hail, snow and vapors, mountains and hills, kings of the earth and all people, princes and all judges of the earth, both young men and maidens, old men and children, "let them praise the name of the Lord; for his name alone is excellent, and his glory above the earth and heaven."

GERMANICUS.

FOR THE FAMILY MINSTREL.

A CHRISTIAN DUTY.

[We make the following extracts from a communication addressed to us by one of our valued friends and patrons, "J. A." of Manchester, Vermont. And we devoutly trust, that the justice of his views and the truth of his observations may receive the attention to which they are entitled.-- ED.] MR. EDITOR, I have long seen and felt the necessity of an entire reformation in that part of divine worship which involves the use of sacred music. I am much pleased with the evangelical views of the subject which the Minstrel contains. Until the performance of Sacred Music is evangelized, or, as your columns term it, christianized, I shall have little hope of deriving aid to devotion from its use in the sanctuary. It ought to be so managed as to help the minister to preach and pray,-to produce a religious impression, and increase the effect which the preacher aims to produce.

The singers indeed, ought to be co-workers with the preachers, through all the services of the sanctuary; they ought to understand his subject, what he wishes to accomplish, enter into his spirit, and bring all the power and eloquence of music to bear upon the same point,to impress truth upon the conscience,―to move the heart,-to raise the soul to heaven.

But the influence of Sacred Music in our churches, is too often any thing but what it ought to be. Ministers, who have any musical taste and susceptibility of emotion, are oftener distressed than aided, by the performances of the choir. The more I look at this matter, the more I consider the end for which Sacred Music is introduced into the worship of GoD, the more am I convinced that it is the business of good men to see to it, to conduct it, and make it subservient to the important object for which it was designed.

But where are the good men of our churches? They are indulging their ease in their own soft cushioned seats below. They feel under no obligation to sing, or to make melody in their hearts unto the Lord. In the many sad disasters which attend the performance of sacred music in our churches, they may, perhaps, occasionally look up and scowl their disapprobation. But does this remedy the evil? Does it remove levity from the choir? Does it secure the worship of GoD from dishonor? Does it secure the object of the preacher's toil? No. So long as this part of worship is treated with neglect by the people of GoD, they may expect to have it grate upon their ears "harsh thunder." They may expect to hear the voice of a tumult, and hear it often,-until they are constrained to present themselves a living sacrifice to God in this matter, and give him honor in the assembly of his saints.

I believe, Sir, that the work of reform is begun, and hope that the Minstrel will aet no unimportant part in carrying it forward. The worship of GoD must be rescued from the desecration of unholy hands and unhallowed fire. Let the redeemed of the Lord say so, and let them awake to their duty,-and it will not be long, before the Songs of the Temple shall rise like incense to heaven, and be answered with grace and peace in the soul. J. A.

EASTER ANTHEM.

Christ is arisen:
Hail the glad day,
Ye children of clay.
Chorus of Women.
In unguents we bathed,
And in linen array'd him,
And folded and swathed
In the sepulchre laid him.
We folded in sorrow
His corse on the bier,
And alas, on the morrow
Our Lord was not here.
Chorus of Angels.
Christ is arisen: &c.

Chorus of Youths.
The buried is raised, already on high,
And he whom we praised, is now in the sky:

'Midst anthems of gladness,

He speeds to his home,
And in vallies of sadness
Has left us to roam.

Chorus of Angels.
Christ is arisen!
Hail the glad day,
Ye children of clay.

FAUST

THE FAMILY MINSTREL.

NEW YORK, MAY 1, 1835.

TO CORRESPONDENTS.

In reply to "S. E. W.," of Providence, we say, that we are prepared to meet his wishes, by an answer in the affirmative.

"H. H." has been received. We think favorably of his communication; but we would ask the favor of his furnishing two or three stanzas, rather more suited to the objects of the Minstrel.

The first of a series of original articles for the Minstrel, on the Philosophy of the Human Voice," has come to hand, and shall be inserted in our next.

The contribution of "Delacarmen," entitled the Happy Family, shall appear in our number for May 15.

The proceedings of the Bennington (Vt.) County Musical Convention, were received too late for insertion in the present number.

TO PRINCIPALS OF ACADEMIES.

We have been much encouraged in our labors, by the flattering reception with which our work has met, at the hands of the Principals, Professors and Teachers of some of our best academies and larger schools; and we have to express our particular obligations, for the patronage, and the good wishes conveyed in the letters of "J J. P." of Elkton, Ky., " C. F," of Buffalo, N. Y., "G. W. B." of Sing Sing, N. Y., S. B. B." of Shelbyville, Tenn., A. B." of Troy, N. Y., "C. W." of Easton, Pa., and “ W. N." of Cincinnati, Ohio.

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Of the various and elaborate publications, on the Literature, the History, the Science and the Art of Music, the following deserve the particular attention of the scholar who would be well versed in these subjects.

1. MEIBOM'S Ancient Musical Writers, Antique Musica Scriptores, published at Amsterdam, in 7 vols. 4to.

2. BARTHOLIN on the wind-instruments of the ancients, De tibiis veterum. 1 vol. folio. Venice.

3. FORKEL'S General Literature of Music, Allgemeine Geschichte der Musik. Leipsic. 2 vols. 4to. 4. EULER'S Mathematical Inquiries respecting Music. Lond. 8vo.

THE MUSIC IN OUR PRESENT NUMRER.

The music which we give on the last three pages of this number, is the same as that of the Maltese Boatmen's Song, so well known as one of the most pleasing of our popular harmonies. It has been our purpose, from the origin of our work, to select such familiar Songs as may be possessed of sterling merit, and, from time to time, to present them to the patrons of the Minstrel, with original words. We hope thus to secure a twofold object,-to redeem from neglect some of the best of our airs, now associated with such sentiments as render them inappropriate, or unfit, for the use of Christians, and especially of Christian families; and also to present them with new claims to favor, by the excitement of the most hallowed sympathies.

PHILOSOPHY OF SOUND.

A very learned, able and ingenious article on the Production and Propagation of Sound, is inserted in the "London and Edinburgh Philosophical Magazine and Journal of Science," for January last. The article is written by Dr. CHARLES J. B. WILLIAMS, and offers some of the most valuable hints that we have ever met

with, on "the nature and transfer of sonorous vibrations," on "the sounds of single and repeated strokes," and on certain remarkable phenomena in "the modification of echoes."

It has been our aim, as far as practicable, to adapt even the scientific articles which we insert, to practical and popular purposes. On this account, we cannot reprint the learned paper above alluded to, without considerable modifications; but we have the promise of one of our stated contributors, to prepare it for general readers, and to concentrate its interesting results.

DYER'S ANTHEMS, &C.

The third edition of this valuable work has already been cursorily mentioned by us, as among the new publications on our table. But its merits entitle it to our special notice, and to the patronage of all those who would cherish the best style of sacred harmony.

Mr. Dyer has selected "upwards of eighty favorite and approved Anthems, Set Pieces, Odes and Choruses, from the works of the most approved authors." The selection includes six anthems for Christmas, one for Good Friday,

6. MARPURG's Critical Introduction to the History and Principles of ancient and modern music, Kritische Einleitung in die Geschichte und Grundsaetze der alten und neuern Musik. Berlin. 1759.

7. BURNEY'S General History of Music from the earliest ages to the present period. 4 vols. 4to. From these works, and also from the writings of Sauveur, HuYGENS, BUSBY, PAUW, HAWKINS and others, our readers may expect to see occasional extracts in the Minstrel.

We have made arrangements also, to obtain some of the best foreign periodicals, which are calculated to increase the value of our pages, by furnishing us with useful and interesting topics. It is, indeed, our purpose, to spare no labor and no expense, to render our work worthy of an extensive patronage, and effectually to meet the wishes and supply the wants of the publiccovering, as far as we can, the whole field of musical knowledge.

giving, six for funerals, and a variety of others for ecclesiastical ceremonies and occasions of charitable collections in churches.

ENGLISH AND AMERICAN PUBLISHERS.

We have been asked by a correspondent, “G. L. D," why it is, that publishers of music in this country, are exceeded by those in England, in the variety and extent of their publications; so that while enterprise, on this side of the Atlantic, extends no farther than to the sale of such pieces as may be comprehended in one, two, or three sheets, the English are producing collections of the works of old masters, in a very superior style. He mentions, in particular, "the SACRED MINSTELSY, a miscellaneous selection of the finest morceaux from such works as those of Handel, Purcell, Kent, Arne, Haydn, Mozart, Beethoven and Sacchini: it will embrace Sacred Music only, and is published under the direction of the Society for the Promotion of Christian Knowledge." Our correspondent refers, in the next place, to "THE WORKS OF G. F. HANDEL, now in the course of publication by Messrs. Jones & Co., London, to include all the productions of the great composer." It is then asked, and we willingly give circulation to the question, "Are none of our publishers enterprising enough, to undertake a reprint of either or at least one of these great works?"

N. Y. SACRED MUSIC SOCIETY. The performance of the Society's new Oratorio, "The Remission of Sin," composed by Mr. C. E. HORN, is postponed until Thursday, May 7th. This postponement is in consequence of the necessary preparations for perfecting the performance, and a wish to give the Oratorio with due effect, the first time of its being submitted to the public.-The composer is to direct the whole performance, and preside on the

occasion.

JUVENILE CONCERTS.

At Cincinnati, Ohio, a concert of vocal music was performed, April 15th, in the Second Presbyterian Church, by the CHILDREN of the second and third classes of the "Eclectic Academy of Music"-an institution very similar in its character and design to the Boston Academy of Music. The performances consisted of Solos, Duetts and Choruses, under the direction of T. B. MASON, Professor of the Academy. We shall be glad to be furnished by some of our western friends, with an account of the manner in which this Juvenile Concert may have succeeded, as we are well satisfied, that far more is to be accomplished in this way, than many of our contemporaries can be induced to believe from a priori reasoning on the subject.

We are happy to observe, that an "Eclectic Institute of Sacred Music" has been founded also at Lexington, Ky. Concerts recently given by the pupils, are spoken of very favorably, in the "Western Luminary," one of our exchange papers from Lexington; and great praise is awarded to Professor Forbes, the conductor of the Institute, for the great success which has attended his instructions.

The work possesses great interest also, from its containing Biographical Sketches of the several composers, and brief, but judicious and discriminating remarks by the editor, which accompany many of the pieces. Although Mr. Dyer is so well known, and so highly appreciated by the public, that he needs from us no testimony to his merits, as an able and efficient votary in the cause of music, yet we cannot forbear at least to record our favorable opinion of him, and to commend his various publications, and especially" that now before us, to the readers of the Minstrel.

The standard and popular anthems and pieces, scattered through a large number of English and American collections of Sacred Music, he has here presented in one volume; and we know of none other, that is, on many accounts, as desirable for the use of Sacred Concerts and Singing Societies.

We have received the first Report of the Eclectic Academy," and are much interested in its success.

MUSICAL-INSTRUMENT MAKERS IN PARIS.-In a late Paris paper, we find a list of 81 manufacturers of musical instruments, in that city. Fifteen are makers of wind-instruments, nine harpmakers, and, of the remainder, no less than fiftyseven are piano manufacturers.