TWO DOLLARS A YEAR,] VOL. I.

ORIGINAL COMMUNICATIONS.

AN INQUIRY

INTO THE ELEMENTARY CONSTITUTION OF THE
Human Voice,-OR
SPEECH, AS A MUSICAL SCIENCE.
NO. V."

In our former papers, we reviewed the elements of speech in their simple and single condition. We are now to consider their more important uses, in adding oral beauty and force to language.

Our first essay on the philosophy of the voice, detailed quantity as an important element of spoken language. This element admits of two divisions. The one applies to the time occupied in the general reading of a sentence or phrase; the other, to the quantity or amount of voice consumed in the utterance of particular words or syllables. It is to the latter that this paper principally refers.

Quantity consists of that prolonged and uninterrupted flow of sound, upon which the beauty of the ancient languages was based, and which renders the Italian and Spanish so highly sonorous and musical. Similar causes must necessarily produce similar effects. Consequently, if quantity or extended vocal utterance on particular syllables, in the languages to which we have referred, rendered them the boast of their day and generation, there can be no sufficient reason adduced, why it should not produce similar effects on our own. We have elements, identical with those which entered into the construction of the languages above named, vowels and consonants. The former are found more generally as terminating sounds, in the Greek, Latin, Spanish and Italian languages. But this fact can furnish no argument against the application of that firm, full, extended vocality, termed quantity, to our language, so far as it partakes of the like constituents.

With these preliminary remarks, we proceed to divide syllables into three classes, in their relation to this most powerful element in human expression:-Immutable, Mutable, and Indefinite.

Among the first class will be found those, in which a tonic is directly followed by an abrupt atonic element: as ac, at, ep, hat, &c. The short quantity of this class is not their only criterion. An attempt to extend them beyond their allotted time, destroys their admitted pronunciation. The word convict, under its verbal and nominal character, will illustrate this fact. If it be desired to extend the first syllable of the Noun, there is no difficulty presented in the construction of the syllable, to the accomplishment of the task. Con may be lengthened at pleasure; but when an attempt is made to lengthen the final syllable upon which the accent rests, in the Verb, it cannot be done, with

ERRATUM.-In Essay No. 4, (see Minstrel No. 12, page 9), second column,) the last note in the last Diagram, should be erased.

[PAYABLE IN ADVANCE.

NO. 13.

accompany reading and speaking from the sacred desk, a command over them is indispensable. The indefinite syllables are those terminated by tonic elements: as go, delay, be

The Mutable syllables are those, in which a tonic is followed by one or more subtonic elements: as orb, arm, on, love, sing, strong, &c. This class, like that on which we have remarked above, has its regular time. If we endeavor to increase the quantity of any of its syllables unduly, a disagreeable drawl attends their utterance. The general fault in pronouncing this class is, that its syllables are contracted, and the beauty and harmony of language thus destroyed, or the speaker or reader, in lengthening them, becomes monotonous and drawling. To illustrate this position, the name of the Deity may be adduced. There is no word in our language more frequently marred, particularly in the sacred desk, than this. We hear gawd, got, ged, gad, &c., for a word that may be rendered beautiful, if its elements are adjusted in their relation to quantity. The extended time in this word, does not rest on the vowel, (hence the disagreeable effect on the ear, of gawd,) but on the subtonics & and D. To public speakers, a full command over the quantity of the mutable syllables, is essential. In many cases it determines the tense of the verb, when the latter ends in ed: as, loved, seemed. The following sentence explains our meaning:

“And surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision.” As this sentence is usually read, it stands thus: “Un surely never lighted on this orb, which she harly seem to touch, a more delightful visn."

The past tense of the verb "to seem," the conjunction "and," and the D in hardly, are lost in the imperfect utterance of the subtonic elements. Let the reader dwell, vocally, on these elements, and the trial will convince him more thoroughly than any written explanation, of the imperfection in language, which occurs, from a want of power over the mutable syllables. In the lines

"She loved me for the dangers I had pass'd, &c." we hear "she love me for the dangers I had pass,”—the subtonic elements closing the mutable syllables, more especially B, D and G are placed in our language as barriers to rapid utterance, in addition to the atonics P, т and к, from which they are distinguishable alone by their vocality. Utterance cannot be rapid, if they are allowed their admitted time. Whereever they are placed, they should be heard. In the solemn and slow utterance which should

condition of quantity, in reference to their pronunciation. It cannot be destroyed. They form the most beautiful and musical syllables in our language, as they did in those of Greece and Italy, while at the same time they admit the most powerful degree of vocal force.

Having thus drawn a rule from the construction of syllables, which may always determine their quantity, we would observe, that the sentiments requiring the application of this element, are those of dignity, doubt, and deliberation, affecting slow time; and eager argument, gaiety, anger, and mirth, demanding quick time. The proper application of extended utterance is limited, naturally, to few individuals: by many it is denied a place in our language. But let any one possessing it, either by nature or acquirement, be contrasted in the reading of Milton, Shakspeare, the Psalms, the Episcopal Burial Service, Litany, Communion, &c., with one who has it not, and it will be felt in the effect produced, upon the ear and the mind. In the course of reading, it frequently happens that words requiring for their correct expression, extended time, will not admit its application, owing to their syllabic construction, as the following lines will illustrate:—

"Faithful to whom? to thy rebellious crew? Army of Fiends, fit body to fit head." The last six syllables convey the sentiment of scorn mingled with contempt, and some degree of admiration at the constancy with which the rebellious angels maintain their allegiance to the arch-enemy, Satan. Scorn requires for its utterance, quantity, as may be observed in the sneer of the school-boy. The above syllables are terminated by atonic, abrupt elements, and consequently will not bear it. An approximation to the peculiar condition of this element hereafter to be named, may be made on them, by raising "body" and "head" about a fifth in radical pitch, above the word "fit," or by reversing this arrangement. The majority

of syllables are, however, so formed, as to be susceptible of the judicious application of extended time. When Mark Antony breaks out into the sorrowful exclamation,

"O pardon me, thou bleeding piece of earth,
That I am meek and gentle with these butchers,"

in the oration over Cæsar's body, the words pardon and bleeding have their dictionary time: but as they here convey the sentiments of regret and veneration, and are consequently the emphatic words, their quantity may be dou

bled: as

O par-don me, thou bleed-ing, &c. One or two finely adjusted emphases of quantity, throw a grace and beauty over a sentence, that twenty, improperly applied, could not pro

"Hail, holy light, offspring of Heaven, first born,
Or of the eternal, co-eternal beam,"

be read with long quantity on "hail,” “hō,” "born," "ter," "có," and "beam," more particularly on the accented syllable of "co-eternal," there will be about it a grandeur, solemnity and beauty, which the poet doubtless felt, when he thus musically arranged its elements.

There is no element in human speech so powerful as quantity. It controls the feelings, reaches the heart, subdues the passions, and lifts us, at times, above the gross survey of earthly existence, to the contemplation of more beautiful, brighter and eternal scenes. As a form of emphasis, it gives a grace which mere accent can never impart. Indeed, it is a mode of accent without percussion. The noun pérfume, and the verb perfume, are distinguished in their grammatical character, by the percussive accent on the noun, and the quantity on the last syllable of the verb. Dr. Rush, in his celebrated work on the voice, to which we would refer the reader for a full and finished exposition of quantity, has given us an English | hexameter line, corresponding to one in Greek and Latin. We give it below.

The feet of these lines are identical. The former is purely Saxon in its character, and as perfect an hexameter as can be found in the ancient languages. We are persuaded, that whenever any scholar of more than ordinary research, and of poetic talent, shall call up the resources of his language, in relation to quantity, we shall have poetry, such as has not been seen in our day, of which the dawning may be seen in the unequalled production of "Paradise Lost." Independently of the beauty which extended utterance imparts to language, it is essential to a distinct articulation. He who has not some command over quantity, will never be heard distinctly, or listened to with pleasure. We, therefore, strongly recommend to those intrusted with the education of youth, to practise quantity, frequently, on the tonic and subtonic elements, and subsequently on words and sentences, under all the conditions of syllabie quantity. It is their interest, equally with their duty, if they desire to see their scholars outstripping the percussive chatterings, that so frequently distinguish and disgrace our public juvenile exhibitions, in which scarcely one word in five is clearly distinguishable. We would close our remarks by observing, that this element obeys the general law which governs the other constituents of speech, to which we have already referred. Its radical and vanish must be equal, or a drawl will be the result. B.

MUSICAL ARTICULATION.

MR. EDITOR,―The power to unite language with melody, has been generally considered to afford an important argument, to those who insist on the superiority of vocal over instru

|

mental music. But as it is obvious, that, unless the words are uttered intelligibly, this advantage is lost; and that an air sweetly played upon the flute or violin, may assert its greater claim to sentiment, in defiance of the pretensions of a badly managed voice, the causes of indistinct articulation, and the manner in which it may best be avoided, have become, in the MINSTREL, and elsewhere, a subject for frequent inquiry. To remove, however, the habits which occasion this imperfection, falls to the lot of the skilful master, and the persevering pupil. Even fully to point them out, would require more leisure than the writer of this can command, and more space in your publication than he would venture to occupy; and, consequently, to offer a few hasty remarks, as hints to those who would wish to pursue the matter further, is all that can now be attempted.

The causes of indistinct articulation in singing, may, for the purposes of investigation, be properly divided into incidental or associate, and adventitious.

Under the latter head, I shall briefly observe, may be included all such obstacles as are voluntary with the singer; such, for instance, as a disinclination to open the mouth, from the supposition, that to separate the lips or teeth is ugly or unfashionable. In this way a habit is frequently contracted, not only of endeavoring to sing, but to converse, with the teeth closely clenched; and as an evidence of the extreme to which this whim (like the passion for big bonnets, big sleeves, &c.,) may be carried, I remember an attempt made in England, about twenty years ago, to carry on the operation of eating, without dividing the lips, excepting for the sly and unperceived insertion of the piece intended for mastication. In treating, however, of such follies, it can scarcely be necessary to observe, that, if persons do not choose to open their mouths when they sing or speak, (whether the objection arises from sloth or caprice,) they cannot expect to be understood; and the only remedy that can be mentioned is, that such singers shall, as soon as possible, return to their sober senses.

But in the second place, so numerous, and so infinitely varied are the incidental causes of indistinct articulation found to be, that, in an article of this description, a few only can be alluded to, and the pointing out of the remainder, as well as the enforcing of all, is necessarily confided to the judicious and experienced teacher.

And first,-it may be observed, that the cadences of the voice in speaking, are of limited extent, compared with the compass that is necessary for the execution even of an ordinary

tune.

The voice, within this speaking compass, becomes, by the constant practice of years, perfectly flexible, and capable of giving the required tones with accuracy, and the required articulate sounds with distinctness, (which doubtless is the reason, that we so often find a public speaker, with the most musical voice within his speaking compass, while all the notes beyond are intolerably harsh and discordant:) but of those who compose the singing part of a congregation, or a non-professional choir, how small a number practice their voices on proper principles, even for five minutes a day, for one year? Is it not reasonble then to expect, that, when such an effort has

often to be made, to procure the desired tone, as wofully to distort the features of the face, the a as in far, will be heard as in fall, &c. &c.

The next incidental cause of indistinct articulation, to which I shall direct your attention, arises from the nature of melody or song, (unlike recitative,) requiring that the sound of some syllables be prolonged, and others shortened, materially beyond their accustomed duration in speaking.

Now on this point, it is necessary to observe, that, in order to relieve the ear, and prevent monotony, the poet, in constructing the words, frequently resorts to a variation of the metrical modulation, or to a transfer of the accent from the legitimate to the succeeding syllable; and that this, unless the tune be altered also, having the effect of making short syllables long and long ones short, must greatly increase the inconvenience under consideration. Nevertheless, by an exceedingly careful adaptation, both in point of accent and sentiment, by a judicious and practised management of the breath, by the occasional retarding or anticipating of a syllable, particularly admissible in solo singing, by the habit of giving the vowel its proper sound, and pronouncing the consonant distinctly, the defective articulation, originating in the concomitant cause of the disproportioned duration of syllables, may be greatly overcome.

The next grand error, is the total suppression, with many, of the final consonant. But as this will be mentioned hereafter, we shall proceed to another leading obstacle in the way of good articulation, which is the defective manner of taking breath, observable in all those who have paid little or no attention to the art of singing."

Not a few commit the mistake of concluding, that taught singers are intentionally unintelligible; that is, that in order to give to their voices the best effect, they designedly suppress the pronunciation of the words. This is an error, to be sure, natural enough; for, as with literature, so with musical knowledge, is a smattering found to be "a dangerous thing;" and men perceiving the vagaries and affectations, hinted at under the head of "adventitious causes," assume that they are the result of instruction. But although a natural conclusion, nothing in the world can be more distant from the fact; since, as I have elsewhere said, indistinct articulation in singing, where there is no physical defect, sufficiently proves the absence, either of good teaching or attentive learning. To exhibit this matter in its true light, permit me to quote, indiscriminately, a few lines of songs, as I have, within a short time, heard them sung, by those (untaught) "fine voices," which it would, in the opinion of some, be almost profanation to endeavor to improve. The spaces show where breath was taken.

"Liflet ou scherish...
While yeatthe taper glow.
Zand the fresh -

...

flow

..

ret

Such instances remind me of the manner in which a couplet, from the version of Sternhold and Hopkins, was given out by the clerk of St. George's chapel-of-ease, in Ireland :"I will sing-and I will not Keep silence, but speak out."

As given out by the clerk:

“I will sing and I will not→

Keep silence, but speak out."

This is a subject, however, that cannot be fully displayed; since it is one upon which it would be improper to run the risk of exciting levity. And for this reason, the most religious of the teachers that I have known in Europe, object to give instruction, alone and from the first, in "Sacred Music;" confessing that they were frequently shocked to detect themselves, with apparent irreverence, pointing out improper pronunciations, &c. Indeed, imitating false pronunciations is, sometimes, the only way of effectually pointing out the error; and it is well known to all teachers, that persons, who, in conversation, pronounce their words with the greatest propriety, are liable to twist and distort them, when, without previous discipline of the voice and of articulation, they combine them with those notes of the melody, which are beyond their usual or speaking compass.

To this incorrect pronunciation or reading, is the fault of mismanaged respiration nearly allied. And this constitutes another important cause of indistinct articulation. The " management of the breath" requires both reflection and discipline. During the practices, the lungs should be fully inflated, the breath sustained, that is, suffered to escape slowly, while the voice is exercised in the crescendo and diminuendo, the note discontinued before the lungs are exhausted, and a sufficient rest af forded to the voice after each note of the scale. When the habit of sustaining the breath is acquired, the rule I would lay down, for the purpose of avoiding the obscurity which an injudicious inspiration occasions, is to renew the breath at the beginning of a sentence, and at the commencement and end of a parenthesis: and by so doing, if the accent of the words agree with that of the music, it will be found that the sense may be easily preserved. In this way, the regular place for taking breath will occur on the last (that is, before the last) note of the bar or measure. Because, if the adaptation be perfect, the accented or important word will fall on the first or accented note of the bar, and by drawing breath on the preceding note, the important connexion between the unaccented and accented words,* between the articles, pronouns and conjunctions, and the adjectives, nouns and verbs, is generally preserved. To illustrate this, allow me to give half a stanza from Moore's National Airs, with the words divided by the bars :A temple to friendship,' said | Laura, enchanted, * I'll | build in this garden; the thought is divine! • The temple was built, and she | now only wanted * An inage of friendship to| place on the shrine. The places for taking breath, are so obviously where the stars are placed, that further observation on this point, would be superfluous.

W. N. [The two remaining obstacles to distinct articulation, treated on by "W. N.," shall appear in our next.—ED.]

• This is necessary, as well to the due effect of the music, as to give the proper sense of the words.

WHAT CONSTITUTES A COMPOSER?

MR. EDITOR,-This question is answered by a musical contemporary; but not precisely to my liking. It is therein said, the composer

must be a rhetorician, a critic, an extensive analyzer of ancient and modern specimens. He must possess an original mind, a creative fancy, a fervid imagination, a heart susceptible of the tenderest emotions. All these should

be crowned with persevering study, and accompanied with modest reserve and self-diffidence, if the student in music would aspire to the character of a successful composer."

Now, who can dissent from the second sentence of this description, relating to "original mind, creative fancy, &c."? Originality of mind is requisite to the composer either of good music or good poetry, or any thing else intellectual, that is good. With no other qualifications than mere want of "modest reserve and self-diffidence," a student may make a composer, nominally; and being an extensive analyzer of ancient and modern specimens," may be sufficient to render one a "successful composer," though in such a case I prefer the term compounder; for in our modern music-laboratories, analyzing and compounding appear to has been, when very fair music, no doubt, was be the most important processes. But the time made without the advantage of "ancient specimens," and probably without much reference

to what was then "modern."

When Moses and the children of Israel sang their song unto the Lord, what anthems, think you, had been analyzed for the occasion? On what collections did King David rely, from which to modify his strains? He might at | # # #2 #2

Now the plagiarism in this instance, I do not charge to the compiler of these works. It lies, no doubt, against the writer of the second staff. It would be a long and tedious task to arrange, side by side, all the undue coincidences which might be found in a volume" of 350 pages. The two last bars or measures of the duett, on the 242d page of the Collection first referred to, are precisely the notes which occur elsewhere, though perhaps not in the same book; and the strain is too peculiar not to be recognised. The first tune on page 218 is, with a few notes excepted, the same as "Pilgrim," in the last edition of the "American Psalmody," which latter has credit in a recent Juvenile Collection, for the air, which therein bears still a different name. The modern

times, call forth upon his harp the timbrel strain of Miriam, or swell the sacred song of Deborah; or, musing, thrum airs in Philistia learned: but did he name them "David's," or modernize their cadences?

For the mere lack of "an original mind," a man is not accountable, any more than for being born poor; but if he is impelled by the one to plagiarism, or by the other to pilfering, the matter stands differently with him. There are two misdemeanors too prevalent in our day and in our neighborhood; and it is surprising that they have been tolerated so long. One of these is plagiarism, the other, the alteration of old standard tunes. An old stanza might not be inapposite:

"Unto the sacrid warderobe hee

Enterd moste feerce and boldily, Foure of syx vestes and robes he claimd, The two othir hys weppon maimd." Every musical man will admit, I presume, that the ear is a much better detecter of plagiarism than the eye; that the spirit and style of two airs may be very similar, when there is nothing strikingly alike in the appearance of the notes. In several of our late popular collections of church music, there are many pages of that description. There are instances, also, where the eye recognises the relationship. Look at a late work, published under high authority, and notice two tunes on the 180th and 181st pages; or the two may be seen on page 177 of another work. One is Short Metre; the other Common. Both are pretty airs, or rather they have a pretty air in common. One bears the author's name;-I wonder who made the other. Let us see how they look together.

1.

2.

mode of giving a tune a short cognomen in one book, and christening it with the first line of some favorite hymn in another, produces no small inconvenience, especially where no explanation is given.

There is an old H. M. tune, beginning thus,

2 2.

the name of which has escaped me; but I think the last eight bars or measures of the second tune, page 206, would help one through with it very comfortably. In many of the compositions which I take to be original, there is monotony and mannerism. It is like looking at