"Plays raise the passions, and pervert the use of them; and, of consequence, are dangerous to morality."-Plato.

"The seeing of comedies ought to be forbidden to young people, until age and discipline have made them proof against debauchery.”—Aristotle.

"The German women were guarded against danger, and preserved their purity, in having no play-houses among them."-Tacitus.

Ovid, in a grave work addressed to Augustus, advises the suppression of theatrical amusements as a grand source of corruption.

"It requires not time nor thought to discover the poisonous influence of such plays, where the chief characters are decked out with every vice in fashion, however gross; and where their deformities are carefully disguised under the embellishments of wit, sprightliness and good humor."-Kaimes.

Dr. Johnson, speaking of the effect produced by Collier's view of the immorality and profaneness of the English stage, says, "The wise and the pious caught the alarm, and the nation wondered, that it had suffered irreligion and licentiousness to be openly taught at the public charge,"-Life of Congreve.

"It is impossible that an establishment (the theatre at Geneva) so contrary to our ancient manners, can be generally applauded. How many generous citizens will see with indignation, this monument of luxury and effeminacy raise itself upon the ruins of our ancient simplicity! Where is the prudent mother, who would dare to carry her daughter to this dangerous school? And what respectable woman would not think herself dishonored, in going there? In all countries, the profession of a player is dishonorable, and those who exercise it are every where contemned."-Rousseau.

"Nothing has done more to debauch the age in which we live, than the stage poets, and the play-house."-Collier.

"Although it is said of plays, that they teach morality; and of the stage, that it is the mirror of human life; these assertions are mere declamation, and have no foundation in truth or experience. On the contrary, a play-house, and the regions about it, are the very hot-beds of vice." -Sir John Hawkins.

“The play-house is the devil's chapel; a nursery of licentiousness and vice; a recreation which ought not to be allowed among a civilized, much less a Christian people.”—Tillotson.

"A celebrated comic performer on the English stage, retiring from London for a short time on account of ill health, and meeting with a pious friend whom he had once intimately known, said, 'I have been acting Sir John Falstaff so often, that I thought I should have died; and had I

died, it would have been in the service of the devil.' The testimony of a player himself."Styles' Essay.

"It is amazing to think that women,, whose brightest ornament ought to be modesty, should continue to abet by their presence, so much unchastity as is to be found in the theatre! How few plays are acted, which a modest woman can see, consistently with decency in every part. And even when the plays are more reserved themselves, they are to be seasoned with something of this kind in the prologue or epilogue, the music between the acts, or in some scandalous farce with which the diversion is concluded. The power of custom aud fashion is very great, in making people blind to the most manifest qualities and tendencies of things. There are ladies who frequently attend the stage, who, if they were but once entertained with the same images in a private family with which they are often presented there, would rise with indignation, and reckon their reputation ruined, if they should ever return. No woman of reputation, much less of piety, who has been ten times in a playhouse, durst repeat in company all that she has heard there. With what consistency they gravely return to the same school of lewdness, they themselves best know."-Witherspoon.

ORNITHOLOGICAL SINGING-SCHOOL.

A wren built her nest in a box, so situated, that a family had an opportunity of observing the mother bird instructing the young ones in the art of singing, peculiar to the species. She fixed herself on one side of the opening in the box, directly before her young, and began by singing over her whole song very distinctly. One of the young then attempted to imitate her. After proceeding through a few notes, its voice broke, and it lost the tune. The mother immediately recommenced where the young one had failed, and went very distinctly through with the remainder. The young bird made a second attempt, commencing where it had ceased before, and continuing the song as long as it was able; and when the note was again lost, the mother began anew where it stopped, and completed it. Then the young one resumed the tune and finished it. This done, the mother sang over the whole series of notes a second time with great precision; and a second of the young attempted to follow her. The wren pursued the same course with this as with the first; and so with the third and fourth. It sometimes happened that the young one would lose the tune three, four, or more times in the same attempt; in which case the mother uniformly began where they ceased, and sung the remaining notes; and when each had completed the trial, she repeated the whole strain. Sometimes two of the young commenced together. The mother observed the same conduct towards them, as when one sang alone. This was repeated day after day, and several times in a day.

EFFECTS OF ART.

There is no effort of painting or sculpture so rude, no composition in music or poetry so artless, as not to delight those who have known no better; and, perhaps, the pleasures which the ignorant feel from mere imitation, when it has arrived at any degree of exactitude, are more keen and vivid, though less exquisite and exalted, than those which the learned in art receive from its noblest productions. KNIGHT.

POWER OF MUSIC.

Pindar, in his first Pythian Ode, of which West has given an admirable translation, addressing himself to his Harp, launches forth into a description of the wonderful effects produced by the enchanting harmony of that divine instru. ment by the Muses:

Hail, golden lyre! whose heav'n-invented string
To Phœbus and the black-hair'd Nine belongs;
Who in sweet chorus round their tuneful King

Mix with the sounding chords their sacred songs.
The dance, gay Queen of pleasure, thee attends;
Thy jocund strains her list'ning feet inspire,
And each melodious tongue its voice suspends
Till thou, great leader of the heav'nly choir,
With wanton art preluding giv'st the sign-
Swells the full concert then with harmony divine.
Then, of their streaming light'nings all disarm'd,
The mould'ring thunder-bolts of Jove expire:
Then, by the music of thy numbers charm'd,
The bird's fierce monarch drops his vengeful ire ;
Perch'd on the sceptre of th' Olympian King,
The thrilling darts of harmony he feels;
And indolently hangs his rapid wing,

While gentle sleep his closing eye-lids seals;
And o'er his heaving limbs, in loose array,
To ev'ry balmy breeze his ruffling feathers play.
Ev'n Mars, stern god of violence and war,

Soothes with thy lulling strains his furious breast,
And, driving from his heart each bloody care,
His pointed lance consigns to furious rest.
Nor less enraptured, each immortal mind
Owns the soft influence of enchanting song,
When, in melodious symphony combined,
Thy son, Latona, and the tuneful throng
Of Muses, skill'd in Wisdom's deepest lore,
The subtle pow'rs of verse and harmony explore.

WHAT SHALL I BRING THEE, MOTHER? "I require nothing of thee," said a mother to her innocent son, when bidding him farewell, "but that you will bring me back your present countenance."-Lavater.

What shall I bring to thee, mother mine?
What shall I bring to thee?

Shall I bring thee jewels, that burn and shine,
In the depths of the shadowy sea?
Shall I bring the garland a hero wears,
By the wondering world entwined,
Whose leaves can cover a thousand cares,
And smile o'er a clouded mind?

Shall I bring the deep and sacred stores
Of knowledge, the high and free,
That thrills the heart on the hallow'd shores
Of classic Italy?

What are jewels, my boy, to me?
Thou art the gem I prize!

And the richest spot in that fearful sea,
Will be where thy vessel flies.

The wreath, the hero loves, is won,

By the life-blood of the brave,
And his brow must lose ere it wear the crown,
The smile that mercy gave!

Dearly earn'd is the volume's wealth,
That opes to the lamp at night,-
While the fairer ray of hope and wealth
Goes out by the sickly light.

Bring me that innocent brow, my boy!

Bring me that shadowless eye!
Bring me the tone of tender joy,

That breathes in thy last "good bye!"

FLORENCE.

MY FATHER'S AT THE HELM. 'Twas when the sea, with awful roar, A little bark assail'd And pallid fear's distracting power O'er each on board prevail'd: Save one, the captain's darling child, Who steadfast view'd the storm; And cheerful with composure smiled At danger's threat'ning frown. "Why sporting thus," a seaman cried, "While terrors overwhelm ?" "Why yield to fear?" the boy replied"My father's at the helm."

TWO DOLLARS A YEAR,]

VOL. I.

ORIGINAL PAPERS.

FOR THE FAMILY MINSTREL AN INQUIRY

INTO THE ELEMENTARY CONSTITUTION OF THE HUMAN VOICE,

OR

Speech, as a Musical Science.

NO. II.

IN our first essay on the Philosophy of the Human Voice, we examined the elementary constitution of the vocal concrete, by a reference to the diphthong sound of our first alphabetic letter, showing that the beauty of its utterance depended on the equality in the a and e sound, or radical and vanish. In the present paper, we intend to show the relation, which the remaining literal elements bear to this allpowerful element of speech; and to demonstrate that language will be rich and sonorous, in proportion to its susceptibility for receiving the full impressiveness of an extended concrete movement. Dr. James Rush, in his work on the voice, has divided all elementary sounds into three distinct classes: the first, named TONICS, admitting of the fullest quantity or volume of vocal sounds; the second, SUBTONICS, yielding an inferior degree; and the third, ATONICS, divested of all musical power, heard only under the condition of a whisper or aspiration. To the TONICS belong,—

1. a, as heard in a-ll, oo, as heard in oo-ze, e,

2. a,

a,

3. a,

4. 0,

5. ou,

a-le,

e-ve,

e-rr,

e-nd, i-sle, i-t.

z, as heard in azh, ng song, 7,

aid,

leg,

live,

m,

day,

n,

loo,

r,

with,

The ATONICS or ASPIRATIONs, are,— p, as heard at the termination of up,

t,

h, a deeply aspirated sigh,

wh,

th,

sh,

ch,

ell, arm,

an, err,

The pupil who wishes to obtain a clear, distinct and full voice, will do well to practise on these sounds. In giving extended utterance to the TONICS, he will find those marked 1, 2, 3, 4, 5, 6, to be diphthongs. In pronouncing them, two sounds, distinct in their character, will be heard sliding into each other, as the radical and vanish of the voice. The letter i (No. 6,) will have for the elements of its concrete, i and e-a (No. 2) will partake of the sounds a and e;—o will exhibit, as its radical, o, and its vanish will be oo, as heard in ooze; ou will have

as its first constituent, or radical ou, and oo for its second, or vanish. The sound a (No. 1,) will give expression to the sounds aive, and e as heard in err. The remaining tonics are monothongs, exhibiting, under any extension of the concrete movement, a single sound; the apparent difference in the voice, when passing over them, existing only in the greater fulness of the radical or opening, and the diminishing swell of the vanish or terminating sound.

The tonic sounds are the bases upon which rest the beauties of human utterance: They present no obstruction for the utmost display of the concrete of the voice, in its most perfect condition; they are highly musical, and at the same time susceptible of the most powerful stress or percussion of voice. They are found abounding in all languages which are melodious in their structure, particularly in the Greek, Latin, Spanish and Italian; and pass with facility and beauty through the concrete, discrete, diatonic and tremulous scales. The accent invariably rests upon them. We are perfectly aware, in making this assertion, that we are treading upon dangerous ground, and offering an opinion opposed to most of the writers on Rhetoric and English Grammar. We are willing, however, to leave the question to their own decision, after stating our reasons for denying the philosophical accuracy of their position. Accent, say they, is the distinguishing of one word or syllable from another, by the application of a greater force of voice upon it. Is it the vowel or consonant, which distinguishes the syllable of a word? The former, undoubtedly. We do not deny, that the consonant fulfils its office, in giving a portion of time to a but we must contend, that the vowel, syllable; and that alone, is the grand characteristic, by which one syllable is distinguished from another. Mr. Murray says, that when the accent falls on a consonant, the syllable is short; and the reverse, when that impression of voice is applied to the vowel. To illustrate the first assertion, he places before us the word action. Is the syllable ac distinguished from tion by the c, or by the short sound of the tonic ă, as heard in hat? If force of voice distinguishes accent, we answer that the atonic c has no voice, properly so called; that it is heard only under the condition of an aspiration or whisper, utterly devoid of vocal sound. This remark applies to all syllables; and we are convinced, that a candid investigation into the principles of accent, by a direct appeal to nature, will amply justify it.

The musical qualities of the tonics, can only be appreciated by those who have perseverance to practise upon them, in their individual state: first, under the condition of an extended vocal concrete; and secondly, under the most powerful vocal stress which can be imparted to them, The latter vocal exercise, if properly pursued, will transform a weak voice to one of power

PAYABLE IN ADVANCE. NO. 10.

and richness, and at the same time improve the general health. We shall shortly lay down the rule to be observed in thus improving the voice. A full power over the elementary tonics is necessary, not only for giving a clear articulation, but for fixing on the ear the sounds assigned by lexicographers to our letters. We are convinced, that if these literal elements were acquired in their single state, they would not be so frequently malsounded, when combined in syllables. This remark applies particularly to e as heard in eve; e as heard in end; and i as heard in in. We have ŭvent, for êvent ; Josuph, for Joseph; bruthren, for brethren; impartialuty for impartiality. Wherever the short i, as heard in in, occurs, and is not under the accent, it is generally sounded as u in cut, or e in err, sounds which we consider alike. late compiler of a work on Elocution, has an error of the kind above alluded to, which, as it may produce an injurious influence on our language, we feel it a duty to point out. He says, whenever "my" is not emphatic or antithetical, it should be pronounced mu. His ear has either deceived him, or he has rested his opinion on the authority of some preceding writer. "My," when not emphatic, is or should be pronounced mi, with the short sound of the tonic i as heard

in in.

A

The SUBTONICS, although inferior to the tonics, in their oral richness, fulfil an equally important purpose, in the raingled compound of human expression. The neglect of them has given rise to a rapidity of utterance in speech, which nothing save a full power over them can eradicate. We would urgently recommend those intrusted with the education of youth, to impress the Subtonics and Atonics on the ears of their youthful students, by a frequent and strenuous practice upon them. They present a barrier to rapid articulation, which cannot be removed while they are properly sounded. Their acquisition is easy. Let the pupil pronounce the word orb, and at the end of that pronunciation, as the voice sinks into silence, he will have the true elementary sound of b.

The whole class of Subtonics and Atonics may be similarly acquired. When once fixed on the ear, and rendered obedient to the will, our language will not be disfigured by those elisions and contractions of syllables and words, which destroy its nervous qualities, leave the hearer in doubt as to the word uttered, and in many cases cause the imperfect tense to be mistaken by the hearer, for the present tense of the verb, as love, for loved, stop for stapt, &c.

Three of the atonics p, t and k, resemble b, d and g, among the subtonics. The distinction is, however, marked, in the vocal sound of the latter, and the aspirated utterance of the former. They are termed abrupt elements, as the voice in giving full effect to them, in either class, bursts on the following vowels or tonics, with an explosive force, resembling the percussive

report of fire arms. We would conclude our remarks on the sub and atonic elements, by observing that they should always be distinctly heard when terminating a syllable, and that a full power to enforce this rule, (the only one effectual against rapid and indistinct utterance,) can only be acquired, by a daily practice upon them, until the vocal organs have become obedient to the will, in giving length and force to them in their simple and uncombined condition.

It will be seen, by referring to the atonic table, that the sounds of wh and h, are not to be acquired, under the mode advised, for becoming acquainted with their fellows. The reason is apparent. Wh does not exist as a terminating sound; and h is a mere deeply aspirated sigh.

Among the Subtonics, r as heard in roe, is thus situated. It is one of the most difficult

sounds to articulate well, and is produced by one or two strokes of the tongue against the upper teeth. If that number is exceeded, the element becomes too deeply trilled; and its pronunciation resembles that imparted to it by the natives of Ireland, at the end of the word Sir, when astonishment or inquiry is mingled with the address.

We purpose, in essay No. 3, to lay down rules for the cultivation of the voice, in its increase of power, richness and melody.

FOR THE FAMILY MINSTREL. SACRED MUSIC IN SCHOOLS.

REASONS WHY SACRED MUSIC SHOULD BE MADE A BRANCH OF EDUCATION IN COMMON SCHOOLS.

MR. EDITOR,-In laying before your readers a few of the reasons, why Sacred Music should constitute one of the branches of education in Common Schools, I beg them to give the subject that attention and hearing, which its importance so justly demands. I have waited in vain, to hear something from one better calculated to do it justice than myself; and finding a few leisure moments, I cheerfully devote them to this, of all causes one of the clearest to my heart.

1st. The study of vocal music should be commenced at as early an age as any other branch of education. Upon the certain utility of this, there can be no doubt, as we shall hereafter see. The experiment has been of late so repeatedly and successfully tried, by some of the most eminent teachers in our country, that there remains but very little doubt, as I shall show.

2d. That every person, if taken at a proper age, can learn to sing, provided that a right course of instruction be pursued. Many probably are ready to doubt the truth of this assertion; but there are proofs in abundance, by which such a position can be successfully maintained. There are many striking instances, which have come under my own observation, like that which I am about to relate, showing the absolute fallacy of the idea often imbibed, that no one can learn to sing, old or young, unless he has a natural voice, as it is called. And true, I am myself as firm a believer in the doctrine of natural powers as any one; that is, I believe that there are many youth, who use their voices with far more skill than others, previous to cultivation, or, in other words, there are many who, by merely hearing a tune once or twice, can sing it correctly, while there are others, who would be compel

led to take great pains, and make many trials, before they could accomplish it, and even then it would be poorly done. This, however, does not by any means prove the doctrine, that none but those who have natural voices can learn to sing. I maintain, as I have already asserted, that every child, if taken at a proper age, can learn.

cess.

In proof of this, I shall mention, at the present time, but a single case. It is that of Miss Caroline, about ten years of age. She came to my school in the spring of 1834, and at that time I had not the least hope of her sucIt was a long while, before she could distinguish one sound from another; and a much longer time, before she could raise her voice to the third of the scale. But she was very deeply interested, and spared no pains in acquiring a thorough knowledge of the principles of music. Her advancement, for some time, was very slow. Yet she was ultimately the most accomplished singer, of about sixty, all of whom appeared to have natural voices.

There are many other instances of the same kind, which I might refer to; but the one already mentioned is enough to convince any candid mind, that learning to sing does not depend so much upon a natural voice, as upon an early commencement, right instruction, and close and studious attention to the subject.

3d. I will mention some of the reasons, why persons at an advanced age do not learn to sing. And, in the first place, their voices are not in so good a state for cultivation. I have little doubt, that many grown persons have voices, just as susceptible of cultivation as that of Miss Caroline This, however, I have not entirely decided in my own mind; yet I am inclined to think, that if the same time could be devoted to the subject, which the young lady devoted to it, and with the same studious attention, that in most cases there would be ultimate success. But, in the second place, adults can very seldom find time enough. It is true, that almost whole congregations have of late years been seen to wake up to this subject, and come out for a few evenings, during the winter, for the purpose of learning to sing. But what is the result? Every one knows, who has been conversant with these seasons of excitement, that what is gained one winter, is entirely lost by the next; and the church derives but very little, if any, benefit from them. The reasons brought to show why adults do not learn to sing, are strong reasons why the young should be taught it, as a branch of education. Hence we see what the benefits are, which would result from a musical education.

4th. I will mention some of these benefits. When I speak of a musical education, I do not mean that a little attention should be paid to this subject, by way of recreation. It should be attended to, in the same order as any other branch of learning, so that the student may become a finished scholar. He is thus also a finished singer, qualified to utter the praises of his Heavenly King, in the sanctuary, without an Organ to bolster him up, or to drown his bad sounds. Some of the benefits of an early musical education are as follows:-1st. The church would soon experience them, by having all her sons and daughters trained up to sing the praises of Zion. No longer would she be dependant on a few persons, perhaps hired, who

alone are capable of singing with the understanding. Not only her sons and daughters, but her old men and maidens would raise one hallelujah to the God of Israel. 2d. We should no longer have to listen, in helpless sorrow, to the death-knell of the neglected cause of church music, which has been so long rung over the churches. I fear, indeed, that we shall continue to hear the dismal sound till every common school in the land has embraced among its different branches, that of Sacred Music. 3d. The troubles which are now experienced by ministers and others, in obtaining good music in the sanctuary, would be comparatively at an end. I might mention many other benefits, to be derived from giving the youth, a musical education; but time will not permit. I trust, Mr. Editor, that, after what has been said, there will not remain a doubt upon the minds of your readers, as to the great utility of introducing MUSIC, as a BRANCH OF EDUCATION E. J.

IN COMMON SCHOOLS.

THERESA PARADIS, OF VIENNA,

THE BLIND PERFORMER ON THE PIANO-FORTE.

This young person, equally distinguished by her talents and misfortunes, was the daughter of M. Paradis, conseiller aulique in the Imperial service. At the age of two years and eight months she was suddenly blinded during the night, as it seems, by excessive fear: for there being a dreadful outcry in her father's house, of fire! thieves! and murder! he quitted the child and her mother, with whom he was in bed, in the utmost trepidation, calling out for his sword and fire arms; which so terrified the infant, as instantly and totally to deprive her of sight.

At seven years old, she began to listen with great attention to the music which she heard in the church, which suggested to her parents to have her taught to play on the piano-forte, and soon after to sing. In three or four years' time she was able to accompany herself on the organ in the Stabat Mater of Pergolesi, of which she sung a part at St. Augustin's church, in the presence of the late Empress Queen; who was so touched with her performance and misfortune, that she settled a pension on her for life.

After learning music of several masters at Vienna, she was placed under the care of Kozeluch, an eminent musician, who has composed many admirable lessons and concertos on purpose for her use, which she played with the utmost neatness and expression.

At the age of eighteen, she was placed under the care of the celebrated empyric Dr. Mesmer, who undertook to cure every species of disease by animal magnetism. He called her disorder a perfect gutta ferena, and pretended, after she had been placed in his house as a boarder for