FOR THE FAMILY MINSTREL. AN INQUIRY INTO THE ELEMENTARY CONSTITUTION OF THE HUMAN VOICE, OR Speech, as a Musical Science. NO. I. In the analytic spirit which has of late years distinguished the researches of philosophical inquiries, in reference to the elementary constitution of the fine arts, particularly Music, we are not aware that Elocution became a subject of scientific investigation, previously to the first edition of the "Philosophy of the Human Voice," by Dr. JAMES RUSH, of Philadelphia, in the year 1827. In accordance with the principles of that valuable work, we propose in the pages of this publication, to show our readers, that Speech is a branch of Music, governed by the same general principles as SONG, but modified by the impression of peculiar elements, hereafter to be explained. As there can be no utterance devoid of musical sound, we shall commence our remarks by naming the elements with which it is united, in producing varieties in the human voice: they areQUALITY, FORCE, TIME, ABRUPTNESS, and PITCH. By quality we mean, the original characteristics by which one voice is distinguished from another: the terms harsh, smooth, full, feeble, thin, soft, musical, will describe them. Force is an additional power imparted to the vocal impulse. Time as a constituent of human speech, me rits a minute investigation: it formed the rich beauties of the Greek and Roman languages, and the Italian owes its musical qualities to its susceptibility for receiving this element. We shall divide it into quick and slow time, in reference to the rate of utterance, and long and short quantity, when applying it to the extension of words or syllables. Abruptness is force, compressed into its least possible dimensions,- -as short, powerful and rapid emission of vocal sound, in giving expression to any syllable or succession of syllables. It resembles the act of a short cough, or a sudden explosion of fire arms. Pitch we shall divide into four scales,-Con crete, Discrete, Diatonic and Tremulous. The term Concrete is derived from the latin verb concresco, concrescere, concrevi, concretum, to unite or coalesce: in the Science of Elocution it designates an unbroken line of sound, through any given range within the limit of natural utterance: by the term Discrete, applied to speech, is meant a skipping of the voice from any particular note of the scale to another, above or below it; over the intermediate intervals. A diagram of the two scales through an octave, the natural range of the voice in speech, will best distinguish, to the striking notes at distances greater than single reader, their distinct characteristics. The centre is the discrete and diatonic scale, the left hand lengthened notes, represent the rising concrete intervals or tones of an octave, fifth, third and second, while the right hand extended figures describe the descending or falling intervals of a concrete octave, fifth, third and second. The central scale also represents the Diatonic progression of the voice through an octave, or five tones and two semitones. We are aware, how difficult is the task of explaining peculiar conditions of sound by written language, and therefore strongly recommend to our readers to become acquainted with the scales by a vocal trial of their notes, commencing on A No. 1, of the diatonic scale; let them gradually ascend to E No. 8, by the consecutive notes,-with the sound No. E fixed upon the ear, let the voice now descend to A No. 1. By such practice the ear will become acquainted with the diatonic progression of the difficult and awkward, but perseverance will voice. The first attempts will perhaps appear ensure success. If a piano-forte is near at hand, it will much assist the practitioner. Let him strike C, the natural note, run the fingers along the following keys to the right, until they have reached the octave or eighth,-then reverse the order, accompanying each succession with letters, or words of one syllable, not sung but spoken, and we are satisfied they will no longer dissent from the fact, that they can speak as well as sing by notes. Such a practice will ensure a further benefit, that of acquiring simple variety in the current melody of unimpas sioned speech. Between the third and fourth and seventh and eighth notes ascending, a peculiar intonation will be heard, differing from the general character of the voice as it passes through the other tones. This peculiarity has been named a semitone. It has its appropriate situation in human utterance, and is the only intonation in which the softer emctions can be properly expressed. It is hardly necessary to add, that the changes by note, in the diatonic scale, are discrete. The wider vocal skips may be made apparent by tones, as the first and fifth, or first and octave: the concrete scale may be measured, in its intervals, by the diatonic. Thus a concrete octave will correspond, in its opening and termination, with the first and eighth notes of the diatonic scale: a fifth will exhibit, at its extreme points, the first and fifth notes of the diatonic scale,while the third and second will exhibit the same characteristics in a diminished degree,--both in an upward and downward progression. The generic character of the rising concrete intervals (above a second) is that appertaining to interrogation, more strongly colored, as the voice ascends; the descending concretes belong to the expression of positiveness, affirmation and command. Notwithstanding we have described the above scales separately, they are, in the mingled compound of expression, variously united. The concrete scale is inseparable from any act of the voice. The Tremulous scale consists of rapid iterathrough intervals more minute than semitones, tions of sound, ascending or descending, the gurgling of water in the throat may perhaps afford an exemplification of it. We shall hereafter show that the act of crying,—hysterical laughing, &c., is made through the intervals of the Tremulous scale. With this simple and we trust plain explanation of the Scales, we proceed to a further examination into the elementary construction of the concrete movement of the voice. Above, we have considered it as an element of pitch-it is now to be viewed as the basis of distinct and beautiful articulation, and as forming, in its varied elementary construction, the Syllabic voices of Speech, Song and Recitative. If the letter a is pronounced, two sounds will be successively heard, at the beginning and termination of the vocal impulse in which it is uttered, a and e,—the former, opening with ful ness, we shall call the Radical of the voice: the latter, diminishing as it proceeds, we shall term the Vocal Vanish: if a figure could exem plify this vocal movement, it would be that of a CONE, taking the Base for the radical and the Apex for the vanish of the voice; the Radical and Vanish, united, form the concrete movement, but its perfection will depend upon the relation which they respectively bear to each other; if the a sound or radical is extendand the voice passes quick ed unduly, ▷ ly through its vanish or e sound, we shall have the syllabic voice which belongs to what is called, by musicians, Recitative. Should the voice pass quickly through its radical or a sound and lengthen its e or vanish, the voice which appertains to Song, will be produced: if the radical and vanish, or a and e, are equal ized, in their vocal duration, we shall have the voice of speech, in its most perfect condition. The extension of this principle to the successive words in a sentence will, in the first condition, give rise to that sharp hammer-like percussiveness of voice,-that clipping articulation, which contracts words and syllables,-moves along without any apparent object save the rapidity of its flight, and which produces a vocality that has no approximation to the clear, full, open articulation of the English language. The utterance under the second condition, will exhibit the voice belonging to Song, or that dull lengthened vocality, which acts like an opiate on the senses and destroys the power of attention to the speaker or reader. In the third condition of sound, that of the equalization in the a and e, or radical and vanish, we shall be presented with that perfect condition of Speech, which belongs to the master-efforts of human perseverance; which fills the ear with its rich and full volume,-delights, though pronounced in an unknown tongue, and which cannot be heard without producing a sensation of pleasure, that commands attention and ensures respect. We thus have one simple principle, the concrete, or radical and vanish of the voice, producing three branches in the science of music : Recitative, Speech and Song. Practice alone can give power to execute the concrete movement in its best condition. We would advise our readers to pass the voice on a through a tone or second, third, fifth and octave, with reference to its finished execution, in both directions: a diagram will assist in making the attempt. Tone or 2nd. Third. Fifth. Octave. I a upd. downd. Jupd. downd. j upd. downd. [upd. dwnd. | We would request our readers to bear in mind the term concrete, or radical and vanish, and its necessary construction: it is the principle upon which rests the perfection of human utterance, and will be seen, in future essays on the philosophy of the voice, producing all the varieties in speech, its beauties and defects. Our next paper will embrace a consideration of the elementary sounds of the English language, with their relation to the vocal concrete movement. GEORGE ONSLOW. FOR THE FAMILY MINSTREL. Among the most celebrated musical composers of our day, Onslow deservedly holds a conspicuous place. His style is formed, from a diligent study of the best models,-especially Mozart, Hadyn and Beethoven; and his compositions breathe the spirit of these illustri ous masters. He was born at Clermont, in Auvergne, on the 27th of July, 1784; and, at an early age, he enjoyed the advantage of the best instructers on the piano,-such men as Dussek, Cramer and Hullmantel. He spent two years in Germany; and there, amid the luxuries afforded by the exquisite performance of the musical works of the best authors, his taste was cultivated, and his genius called forth. GENERAL VIEW OF THE STATE OF MUSIC, Concerning the music of the ancients, we On the other hand, if the following hypothe- rily received their music. The scale in which There is a Scandinavian tune of great antiquity, set to words, which are attributed to Odin himself! This tune consists of only four notes, E, F, G, A; the first four which were invented, and the four constituent sounds of the first invented tetrachord of the diatonic genus. This and all other ancient tunes will be found The following complete list of his published far more excellent than the less ancient tunes, the other hand, possesses excellencies unknown to the ancients, harmony, fugue and imitation; excellencies which it is folly to depreciate. After music had been deprived of rhythm for the use of the early Christian church, it was long ere it arrived at a second state of perfection. In the chants of the Romish church, the supposed remains of the heathen sacred music, there was indeed a sublimity in the character and intervals of the melody, which has never since been equalled; but which Tallis has imitated in his litany, and on which as a canto fermo, Bird, Leo, and other great masters, have constructed many glorious compositions. After the invention of harmony, in the eleventh century, for the barbarous combinations used before the time of Guido do not deserve the name, its progress of improvement was very gradual, and almost imperceptible; and with whatever veneration we may regard that great luminary of the fifteenth century, and father of harmony, Josquin de Prez, yet, on trying his music, we must own that its merit is rather comparative than positive; his splendor having been greatly eclipsed by the bright constellations of musical excellence which arose in the sixteenth century, among which we must regard as luminaries of the first magnitude, Tallis, Bird, and Farrant, the second of whom has never been exceeded in the masterly contexture of many distinct parts closely sustaining a subject; and Perluigi di Palestrina, or Præneste, who advanced the improvement of his art to a greater degree than any contemporary church composers, by the sweetness of his melodies, and the free and natural motion of his parts. The madrigals of the above masters, and of Morley, Welkes, M. Este, G. Converso, and above all, of Luca Marenzio, have never been equalled. The excellence of a madrigal consists in the subjects being well sustained, natural, varied, and relieved with episodes and counter-subjects, the parts being well employed and flowing, the melody chantant and vocal, the harmony rich and clear, and the modulation natural and easy. If the glees of this or any other age be compared with those of the 16th century, they will be found inferior in each of these respects. Orlando Gibbons, who flourished in the seventeenth century, composed in the style of the sixteenth, and his full anthems and services will serve as a model to posterity. A new field of improvement was opened in the early part of the seventeenth century, by the great attention to expression, and by the invention of recitative, of the cantata, of the oratorio and the opera. Carissimi excelled in almost every species of composition extant in his time, and his productions are in general as superior to those of his numerous imitators, as an original poem is to a translation. Purcell was likewise a most original composer, and excelled in a variety of styles. At the time in which these great masters lived, expression, especially of the pathetic kind, was carried to its greatest degree of excellence. If the music of the present day is more brilliant, cheerful, and animated, it is less pathetic, dignified, and solemn. If the cadences in recitative are less formal, and bear a stronger resemblance to a period of elocution now than formerly; they are, however, less melodious and more vulgar. The truly vocal melodies in the cantatas of Stradella, Al. Scarlatti, and Cesti, were the fountains of all succeeding beautiful airs; and the sacred motetti of Carissimi, and anthems of Purcell were the perfection of church music, which since their time has been, I think, gradually on the decline. The seventeenth century was the golden age of music, for to the before-mentioned names, those of Keifer, Colonna, Durante, Allegri, Benevoli, Steffani, Marcello, Leo, Luigi Rossi, and Corelli, may be added; all great composers of various styles. The only improvement which church music seems to have received in the eighteenth century was, from the organ and other fugues of Handel, which surpass in the subjects themselves, as well as in the manner of treating them, those of Sebastian Bach, Froberger and every other fuguist. Oratorio music, viz. choral music, with instrumental accompaniments, was certainly brought to its greatest perfection in the eighteenth century, by Pergolesi, Baron D' Astorga, Leo, the two Grauns, Jomelli, Hasse, and above all by Handel. Handel and Geminiani composed music which was far superior to that of Corelli. Tartini invented numberless beauties, which have been the admiration and objects of imitation to most of the early composers of the modern style. But the modern concert symphonies of Haydn, Pleyel, and Kozeluch, surpass them all in brilliancy, invention, and instrumental effect. CHINESE AND SCOTCH MUSIC. The Chinese have made little improvement in music, since the time when Father Sememi and Dr. Careri wrote. Their gamut is certainly the diatonic scale of the Greeks. It consists of five whole tones and (contrary to Dr. Burney's opinion) two semitones; and their melodies very much resemble those of Scotland. The Abbe Roussier, in the second article of his Memoires sur la Musique des Anciens, mentions an old Chinese scale, of six notes, which Rameau has preserved. The Abbe and Rameau differ as to the nature of this scale, which, according to the latter, produces, by applying the numbers to the ascending fifth, the Scottish scale, adding only a note to complete the octave, thus:-C, D, E, G, A a. "The only specimen of Chinese music which Rousseau has given in his Dictionary, from Du Halde, seems to confirm," in Dr. Burney's opinion, "Rameau's scale; for, except in one passage at the beginning of the third bar, where F natural comes in so awkwardly, as to raise a suspicion that it has been inserted by mistake of the engraver, the fourth and seventh of the key are scrupulously mixed throughout; and nothing can be more Scottish than the whole cast of the air." Dr. Burney says, that "all the specimens of Chinese melody which he had been able to collect, were of this sort:" and Dr. Lind, who had resided for some time in China, assured Dr. Burney, "all the melodies he had heard there bore a strong resemblance to the old Scotch tunes." The Doctor farther observes, that the octave produced by omitting the third note downwards in two tetrachords, as the second was omitted in the enharmonic of Olympus, gives exactly the Chinese scale of the Abbe Roussier, concluding as follows: "The Chinese scale, take it which way we will, is certainly very Scottish. It is not my intention to insinuate by this, that the one nation had its music from the other, or that either was obliged to ancient Greece for its melody, though there is a strong resemblance in all three. The similarity, however, proves them all to be more natural than they at first seem to be, as well as more ancient." The Chinese are extremely tenacious of old customs, and equally enemies to innovation with the ancient Egyptians, which favors the idea of the high antiquity of this music; and as there is reason to believe it very like the most ancient of the Greek melodies, it is not difficult to suppose it to be a species of music that is natural to a people of simple manners, during the infancy of civilization and the arts among them. THE FAMILY MINSTREL. NEW YORK, JUNE 1, 1835. MUSICAL CONVENTION. A large number of the friends of music, from different parts of the United States, assembled at the Chatham-street Chapel, according to public notice, on Saturday evening, May 16th, with a view to take measures for the more general cultivation of devotional music. The Rev. Dr. MATHEWS, Chancellor of the New York University, was called to the chair. The meeting was attended with much interest. Several addresses were made, and a variety of pieces of Sacred Music were performed by a large number of the members of our city choirs. We cannot but look upon this as an auspicious omen, and hail it as one of the propitious "signs of the times." Rev. Mr. OWEN, of this city, offered the following resolution: RESOLVED, That the general apathy of Christians in regard to Sacred Music, calls for corresponding efforts from those who appreciate its importance. Mr. O. commenced his remarks by saying, that the terms of the resolution were humiliating in the last degree, to all who love our holy religion,-just as much as though we had assembled to awaken in our hearts a spirit of prayer. It behooves us in this, as in that case, to lie in the dust, and let our first work be repentance. The resolution charges Christians with apathy in regard to Sacred Music. What is Sacred Music? It is the science of singing the praises of the Most High,—of echoing back the hallelujahs of heaven,-of uniting with the hundred and forty and four thousand, that cease not day nor night to lead in the song of redemption. Oh! it is the delightful occupation of eternity. When prayer, and confession, and the tears of penitence, and the groans of humanity shall have ceased forever; when this mortal shall have put on immortality, and this corruption shall have put on incorruption;-then shall sacred song assume her legitimate empire, and the immortal soul feel and own her sovereign influence. And do I stand here to charge the churches with apathy, the chosen of GoD,-the heirs of glory, the blood-bought ransomed souls, who if ever permitted to hear those songs, will hear them by the grace of GoD,-charge I them with indifference to the praises of the Redeemer? Yes,-I do it solemnly and with the most per fect conviction of the truth of the charge. The stone and the beam in our sacred edifices lift up the voice together and say, the charge. is true. Prayer, as she ascends from the domestic altar unaccompanied by sacred song, cries out in her lonely flight, that the charge is true. Angels, as they hush the minstrelsey of heaven, and bend down upon their silent harps to catch the distant songs of man, cry-the charge is true. To support and illustrate this charge, the speaker confined himself to three points. 1. The musical education which Christian parents usually give their children. If Christians felt a becoming interest in Sacred Music, would they not be solicitous that their children should be well instructed in the art? But what is the musical education commonly given by Christian parents? Until the daughter has arrived at the age of 14 or 15, generally little or no attention is paid to the subject. Then she begins "to take lessons upon the piano." The music which is placed before her, is mostly secular,-flippant, artificial, soulless,and often set to words most pernicious in their influence upon the mind. I may be accused of want of taste. Be it so. I have little or no taste for the gaudy ideas of such music. I do not believe that the Songs of Zion can be discoursed in its trills and shakes. And then, who are the exemplars of the style in which this music is to be performed? Those who sing at the Theatre or Opera-house. As they strike the note or perform the passage, echoes are heard from the thousand pianos all over our city. And would to GOD, that nobletoned but senseless instrument alone responded. These public singers are puffed in the newspapers; they are placarded upon the corners of the streets,-they are applauded by the multitude. To sing like them is considered the ne plus ultra of perfection. Oh, sir, it is humbling to see the daughters of Christian parents, upon whose musical education hundreds of dollars have been expended, unable to sing the airs of their own native land,—unable or ashamed to sing the praises of the Redeemer, that bought them,-unable to sing or play any thing that has not the stamp "As sung by with great applause." But it is said, that these are accomplished singers. Accomplished they may be, after their kind. But is their style suitable for the deep pathos and tender emotion of the "praises of Israel." Singing is the expression of deep emotion. What emotion can they feel, in singing words which are foolishness to them? It is solemn mockery. In my opinion, nothing argues greater apathy, or is more at war with devotional singing, than for a Christian parent to surrender up his daughter to such influences. The time will come, when it will be an honor to sing the praises of the Creator, and when Music under the benign influence of the religion of Jesus, will form an elementary part of education from the very nursery. Mr. O. alluded, in the second place, to a very strange remark which is sometimes made, and which may be traced to, and is very illustrative of, the indifference which Christians feel upon this subject. The remark is, that good singing has a tendency to draw away the mind from the spiritual part of the performance, and fasten it upon the charms of the music. I will not deny to this remark its due force, or that it is But the perversion of a not sometimes true. blessing is no argument in favor of its abandonment. Let those who experience this difficulty, retire to their closets before they go to the house of GOD; let them meditate upon the love of Christ, until they shall call upon their souls and all within them to praise his name, and then good singing will be the chariot of fire to convey their love to the throne. Let us in imagination transport ourselves among the bright and rejoicing spirits of heaven. Look to the right: see yon files of redeemed ones, rank after rank, whom no man can number, all dressed in white, with their crowns of life and their golden harps. And there, on the left, are the elder spirits of heaven, angels and archangels, cherubim and seraphim, thrones and dominions, the hierarchies of heaven, with the trumpets of GoD in their hand. And there, the great organ of eternity,-before its keys sits the Handel of heaven. All are ready;-and at a signal from the throne, there is one burst from every harp, trumpet and key, loud as the noise of mighty thunderings and many waters,-Hallelujah, for the Lord God omnipotent reigneth. Is there a discordant harp, it would be dashed upon the sea of glass. Is there a spirit that does not sympathize in the song, the muttering thunders would admonish him of his sin. And now let me ask, is good music the spontaneous expression of devotion in heaven, and hostile to the same here on earth? I speak as unto wise men, judge ye. The last topic to which the speaker alluded, was the mechanical, heartless style in which Christians in general sing. Mr. O. referred to the well known tones in which are expressed various emotions of the mind; and showed how those peculiar tones are neglected or perverted, when applied to sacred music. He suggested the inquiry, whether teachers ought not to spend more time in the rhetorical adaptation of tone to sentiment. After having analyzed several stanzas, and showed their leading sentiments, and the tones in which they should be sung, he concluded by an appeal to the singers, urging them to perseverance and consentaneous action; and predicting that the time was at hand, when their labors would be appreciated. Mr. SAMUEL R. BROWN, one of the Professors in the N. Y. Institution for the Deaf and Dumb, offered the following resolution: RESOLVED, That it is expedient to form a Union for the general promotion of Devotional Music, in the Churches. Mr. B. after expressing a regret, that some one more competent to the task had not been charged with the commission, observed that the subject demands knowledge,-knowledge of the state of the country, and its wants in respect to Sacred Music; and it calls for piety of no effervescent kind; none of that admixture of feeling which sparkles and foams for a moment, and then dies away of self-saturation. No: we want a different order of minds and hearts, to sustain by their invention and by their eloquence the Sacred Science of Music. True, a widely different view of the matter has been almost universal. While the other sciences have been prosecuted with enthusiasm and zeal; while no pains have been spared to develope and perfect them; while the philosopher has been overtaken by the break of day, in his eager pursuit after some abstract principle of science; while Literature has employed ten thousand quills, and many that might better have feathered the wing they grew on; while the poet's eye has often been "in a fine phrenzy rolling," and the feelings of his heart have flowed out from the point of his pen, and circulated through the hearts of thousands more; how few, in our country at least, have deemed the heavenly science of music of sufficient consequence to engage, in like manner, the undivided energies of the mind. We have long trifled with this matter. We have exhibited a strange inconsistency, in admiring music on the one hand, and despising it on the other. We have treated it like some pet, good enough for a plaything, and turned it out of doors when it ceased to amuse. But we have entirely mistaken the object of music, in so regarding it. It is not designed to amuse but to instruct the heart. Rev. Mr. MILLS, of Peterborough, N. Y., of judgment. How then shall it be disarmed? fered the following resolution: Mr. M. remarked, in substance, that the office of Ministers of the Gospel being emphatically the highest in the world, they ought not only to feel interested, but also to be vigilant, in the cultivation and maintenance of Sacred Music. The effect on the surrounding community, where ministers give good heed to the cultivation of music, has ever been, and ever will be, highly favorable. The speaker gave a few instances in illustration of this observation, but as he spoke in a low tone of voice, we were unable to " keep the thread of his discourse." We regretted this the more, because we conceive the resolution he offered, to be one of great and abiding importance, and one too, which we hope to see carried out to its fullest extent, by those who lead "the sacramental host of God's elect." How shall it be taken captive by the truth, and be led to embrace its conqueror? How shall the truth enter the citadel of the affections, when all along her ramparts, the bristling arms of her sentinels are seen, as they watch day and night against the entrance of their deadly foe? Send the terms of capitulation by the mouth of music, and she is so welcome a guest, that for her sake alone the dwellers there will listen,-relax their hold on their arms,-drop them to the earth,--throw open the gates of their fortress, and, the next moment, may wave on her topmost turret the banner of the cross. This is no fiction. It is not an overstrained effort of the fancy, which has no foundation in real life. It is an every-day occurrence, or would be, if this pacific mode of warfare were generally understood and appreciated. It was the remark of one of our most distinguished American evangelists, that he always liked to have an appropriate hymn, set to the right music, to express the sentiment, sung while the mon. people were leaving the sanctuary after a serWhile they were retiring, they would thus catch some strain, lingering on the ear, and would go home thinking of that tune, that last tune which they heard, and soon some one might try to hum it over to himself, and then he would think how very solemn those words were, and soon he would be under conviction. "This," said he, "I have often known to be the fact." Well, there is nothing strange in this. The ungodly man does not love the hymn, but he likes the tune, and they are so associated in his mind, that if he takes the one, he must take the other, and he thus receives the truth into his heart, and it must of course trouble him. How does the "father of lies" make his falsehoods so palatable? He can render the most disgusting and debasing thoughts agreeable to He knows the hidden ave the human mind. nues to the heart. He has explored all that region, and spares no pains to direct his forces accordingly. What are the coarse and vulgar ballads, heard at every corner of the streets ? What, but the lessons of Satan, taught to the young and volatile? They are envelopes that conceal a poison. They flow in at the ear, and through the heart, and out at the mouth, till the pestiferous current has saturated the soul unto death. He hides within a delicious morceau, a deadly drug. "He puts a mortal poison in a pleasing song, And it is drank for nectar, by the gaping throng." The power of music is too little valued. Its perversions are not duly estimated. Its right and legitimate use in the sanctuary and at the fireside, is not generally understood. It has been too long overlooked in this busy world, and especially in this busy part of it. Let us now cast our eyes over the length and breadth of the land, and see how much attention is actually bestowed upon the study and practice of Sacred Music. Here we can only speak of the general aspect of things, and not in details. The apathy and indifference that prevail on this subject, are truly lamentable. It would seem as if this "natural way of expressing devotional feeling," viz: by means of sacred song, would secure for itself, unaided and without any other advocate than its own thrilling voice, universal attention, at least among the children of GOD. But not even here do we find much to cheer us. How few of those who minister at the altar, feel any permanent and active interest in the music of the temple! They are too often wholly unacquainted with both the theoretical and practical parts of the science. How few of our ministers, on an emergency, are able to give the pitch to a tune! Among private Christians, how few out of a thousand, even of those who pretend to sing, know any thing of music as an art or science, or have considered it in any other light, than as a sort of instinct, peculiar to a part of our race, and denied to others; somewhat like the singing of birds, and requiring of course no cultivation, and no study! How few can be found even in this city, who are well versed in the artificial affair of Solmization! One would suppose, it to be a Herculean task, to master this simply mechanical part of the study! How few know any thing of Counterpoint, or Modulation, or Expression! How few know the rationale of the results produced by a full orchestra of instruments, or the particular ef fect of any one of the number! How few can unravel all "the hidden soul of Harmony!" Are there many who unite in themselves speculative knowledge, practical invention, and vocal or manual execution? There are a few, and only a few. These facts are adverted to, not in the way of censure, but to illustrate as far as may be in so short a space, the actual state of the public mind on this subject. In New England, they are in the advance of us very considerably, but even there much remains to be done. At the South and West, they are but beginning. It must be plain to every mind, that both the study and the practice of Music are too much neglected, and also that its devotional effect is too generally lost, or seldom experienced as it might be, if it were duly cultivated. What then shall be done? What measures shall be taken, to remedy the evils here spoken of? The plain answer is, that some energetic movement ought to be made immediately. Even a defective remedy, is better than none at all. Though we are not to attack any vice, so called, that prevails among men, yet we are proposing to ourselves a means of improving the moral condition of mankind, and in this light it is a sober subject, and one which should command efficient action. It should also be a united movement. We have already experienced the partial benefits of isolated individual efforts in this cause; and the result has been a very slow rate of advancement. We have indeed called music a science, and its power wonderful; and that is all that we have done. Who has thoroughly investigated the matter, and explored the profundity of the Science? Few. Where have its marvellous effects been witnessed? In very few places comparatively. We have had teachers of music; but what have they taught us? Too often, they have inculcated by their personal example the false idea, that to be a musician, is to be a "hare-brained wight, fit only to sing a song, or shake a bow." This, however, has not been by any means the universal character of our professors of music. There are, on the other hand, men of piety and talents, whose character adds dignity to the profession. But we are speaking now of the general aspect of things. Thus, while we have suffered music to be supported solely by individuals unassociated, and unsustained by mutual counsel and instruction, we have usually observed that the reputation of musie was low, because it was most imperfectly understood; the theory of it consisted only in a few cant phrases, and technicalities, and of course it was regarded as unworthy of pursuit. What mind that is not grovelling, would stoop to investigate a subject so unpromisingly shallow. Few have therefore undertaken to explore such an uninviting field. Men do not labor without some motive. Columbus, though the object of his voyage was not to discover a new world, was in search of a new passage to India. In like manner, it has followed that our Church Music has sometimes been of a character almost impious. This was the natural effect of the want of competent professors, of the right moral stamp. A mere sciolist does not possess the competency, nor an unchristian man the moral qualifications, which render any one fit to teach his fellow-men how to sing the high praises of their GOD. These then are some of the effects, or existing facts at least, of this democratic system of action. We need now some other expedient; and what so well adapted to the exigencies of the case, as a general "UNION for the promotion of Devotional Music." We need efficiency, and this will give it. We need funds, and this will furnish them. We need light and increased knowledge, and how can we better obtain new light, than by bringing minds into contact on this subject. This is the way in which other regions of Philosophy have been explored, and the results made available to the world. Here then is a region unexplored to a great degree, as I doubt not. Let us join hand in hand, and rush into the mine that is just disclosed, and vie with each other in a friendly zeal, to bring out the treasures of knowledge. The order in which this meeting comes is a happy omen. It occurs at the close of a week, when all hearts have been filled with gladness by a series of religious festivals, of unparalleled interest. Were Haydn to compose a chorus, to express our feelings and his own on this occasion, the notes would doubtless dance and leap from the point of his pen, as they were wont to do when he thought of GOD. What time more fitted for loud Hallelujahs! The note of preparation is already given. The messengers of the churches, like angels, have alighted together on this spot, for a little while, to partake of the rare feast; and now, as they resume their flight, and speed their way back again to all quarters of our land, let them go with a new impulse in their hearts, and a new song on their tongues, and wake the nation to the praises of our GOD. So let it ever be, in their annual migration to this metropolis; and may they never return, without first uniting in a MUSICAL ANNIVERSARY. The measures toward forming a Musical Union, to which we referred in our last, and which is alluded to by Mr. Brown, are in active progress. In our next number, we shall probably furnish a minute detail of the proceedings on the subject. PHILOSOPHY OF THE HUMAN VOICE. We begin in this number our proposed series of Essays on the Philosophy of the Human Voice. We state, (by permission of the author,) that they are from the pen of Dr. J. BARBER, Professor of Elocution, at present residing in this city. Of his ample qualifications to do justice to the subject, the public are already well aware. The elaborate researches in the learned and extensive treatise of Dr. JAMES RUSH, are of course accessible only to a few, and far beyond the reach of readers in general. Dr. Barber, a devoted disciple of Dr. Rush, and deeply imbued with his philosophical principles, designs, in his Essays, to imbody the most prominent of these principles, and to adapt them to popular use. OURSELVES. From the very origin of the Minstrel, it has been our aim to elude as far as possible the charge of sectarianism. It has been our ambition never to lisp any thing which might be thought the Shibboleth of a religious party. What has been our ambition, has become our honest pride. If then we obtrude ourselves, in the following extract from the "Pulaski Bannar," published at Richland, in this State, it is because we glory in thus far having attained, what we hope ever to hold fast,-a reputation for "freeness from denominational bias," and yet for a decided tone in our evangelical principles. We have no acquaintance with the gentleman who has thus honored our motives, and borne his testimony to our work. As he is an uninterested judge, therefore, we think he may be deemed impartial. [FROM THE PULASKI BANNER.] "MR. GEDD: Sir,-Knowing your paper to be circulated and read somewhat extensively, I would through the medium of its columns commend to the favorable notice of your patrons, "THE FAMILY MINSTREL." This Journal is published semi-monthly in New York, and sent to subscribers at Two dollars a year, if paid in advance. It is devoted to the interests of Musical Education and Sacred Music. I am happy, sir, in learning that a train of means are in progress, which, instead of aiding the favored FEW, will, if carried forward, bring to every society and FAMILY, not only rich specimens of this Heavenborn institution, (vocal music,) but the reasons why it should be sustained. This the Minstrel proposes to do. I think, sir, if the Journal maintains the position it has taken, it will do much towards awakening a more general attention to the subject. Its freeness from DENOMINATIONAL BIAS,-its decidedly MORAL TONE,-the special FAVOR it has from some of the most approved Musi CAL AUTHORS in the union, and its typographical NEATNESS, claim for it an extensive patronage. Being actively engaged in endeavoring to teach vocal Music, I have seen and felt many, if not all of the evils the above work is intended to remove. I ardently desire, that many of the heads of Families in this vicinity would, with me, become subscribers, that their children and others might share in its benig influence. JEFFERSON TILLINGHAST." NEW MUSIC. A new selection of Sacred Music has recently been published by Messrs. W. B. Snyder and W. L. Chappell, at Cincinnati, Ohio. We are indebted to the publishers for a copy of this publication; but the want of room in this number prevents our giving any notice of its claims to public favor. A number of the original compositions of Mr. E. IVES, Jr., Principal of the Philadelphia Musical Seminary, have just been sent to us by the author, to be inserted at discretion in our pages. The reputation and the merits of this gentleman, render any expression of our feelings at this time superfluous. We need only say, that we shall soon avail ourselves of the privilege which he allows us. |