rising vanish on the note of each syllable, excepting the last, which takes an opposite direction in the lowest note of the scale employed. We now give a form of the melody referred to. He dives into the mysteries of na-ture's laws. By referring to the above diagram, it will be seen that each syllable passes through the concrete interval of a single tone, and that it is not removed, in radical pitch or change of note, more than that distance above or below its fellows; while in some cases two syllables occupy the same pitch. The peculiarity of which we have spoken above, as regulating the final "Nacadence, may also there be observed. ture's laws" falls through three notes, with a downward vanish on the final syllable. These words might be arranged in various successions of melody, almost ad libitum. With such a resource for almost endless variety, does the diatonic scale and its notes furnish us. In the simple distribution of the diatonic melody, there is no emphatic impression. Whenever what are called emphases, in other words, peculiar and marked contrasts in pitch, fall upon the ear, it has been violated; for the correct representation of sense or expression, a certain succession of its notes seem necessary at the different points of punctuation. Under the old method of teaching, pauses alone were noticed in giving continuity to expression, or vice versa. A pause however, is a mere act of silence, and can have no relation to the impression of continuity in sense. Intonation alone can accomplish that purpose. Peculiar successions of notes are therefore essential, to show remoteness or proximity in the relations of sense. These arrangements have been named by Dr. Rush, the "Phrases of Melody." They are represented in the following diagram:Rising | Falling Di Monotone. tone. Tritone. Rising Ditone. Press'd with a load of monument al clay. The rising ditone is essential, to impress an intimate and near connexion of sense in the various members of a sentence; the falling ditone points out a more remote connexion, while the monotone denotes continuity, without relation to its proximate or remote character. The phrase of alternation is merely subsidiary to the purpose of variety, when a change of sense occurs in the current of expression, while the Triad of the cadence is applicable alone to the close of the voice on the final syllable. Having now detailed the progression of intonation in the current of human expression, and shown that the rising vanish is essential to the continuity of sense in all its relations, we proceed to speak more particularly of the Melody which appertains to the final cadence. As the rising vanish is essential to the continuation of sense, the falling vanish is essential to its close. Nor can a speaker or reader, who does not apply this form of intonation to his final syllable on the lowest note of the scale employed, even produce a satisfactory termination to his reading or speaking. The diatonic melody presents various forms of cadence, but the repose of the voice in the final note of the scale is the prominent charac-❘ teristic of them all. This must be reached, or the ear can never be assured that the subject matter is closed. The most satisfactory form of cadence, is that in which the voice falls regularly through the three lower notes of the scale, with a downward vanish on the last, as in the following: Sweet is the breath of m orn. Should the reader have passed to the penult syllable, without observing the period, and that syllable will admit of quantity or prolongation, he may still reach the final note, and thus accomplish the cadence, by extending that syllable through two notes, as the following diagram will show :— With tur ret crest and sleek en am - ell'd neck. The syllable "ell'd" in the above, occupies two notes in one concrete. In other language, its pitch is through two tones, and the final note of the scale is reached at the extremity of its vanish. This form of cadence, although inferior in its character, and audible to the first presented form, is not unpleasing. It can however, only be used, where the penult will admit the necessary prolongation of voice. Should a short penult and ultimate syllable present themselves at the termination of sense, under the condition to which we have above alluded, the diatonic melody shows another form of cadence, which, although unsatisfactory, must be a last resort, where the most successful method has been neglected, as below :— In the above diagram, the second constituent of the cadence is omitted, and the voice passes from the third to the final note. The disadvantage attending the use of this form of cadence is great. We would not recommend it, except in extreme cases. The transition of voice by the omission of the second note, falls upon the ear in an unpleasing manner, and it not unfrequently happens in speaking and reading, that the final syllable, to the hearer, is lost in the low tone of the final note succeeding, suddenly, the higher impression of the third note. It will be observed in the above forms, that the last note of the scale must be reached. The law which governs song is here applicable to speech. The sentence cannot be finished, unless the voice reposes in the final note of the scale employed, with a downward vanish. Yet how few there are, who in reading obey this rule. In the majority of readers, we are at a loss to discover by any vocal intonation, that the subject matter has terminated. The diatonic melody has higher and more important offices, | than those of merely showing the current melody, and that of the final cadence. It furnishes an instrument upon which to exercise the voice. Nor will he who has full power over its varied successions of pitch, ever be likely to offend the ear, by that sameness of intonation, to which the term monotony has been so aptly and truly applied. We would strongly and urgently recommend to our readers, a perfect acquaintance with the scale from which it is formed. When its notes are once fixed on the ear, they can at pleasure form their own melody, and vary it according to their will; nor will it, under all its transmutations, be unpleasing. We have now detailed the simple elements of speech, and propose, in our following essay, to examine their combinations under the term EXPRESSION OF SPEECH, divided into,-Quality, Time, Melody, Pause, Grouping, Aspiration, Octave, Fifth, Third, Semitone, Downward Concrete, Wave, Tremor, Force, Radical Stress, Medium Stress, Vanishing Stress, Thorough Stress, Loud Concrete, Accent and Emphasis. If our readers have hitherto been amused and instructed, we can assure them that a richer and wider field is before them; the flowers of which will expand into beauty and luxuriance, as they open to the view of the beholder. FOR THE FAMILY MINSTREL. REVIEW. A GUIDE TO INSTRUCTION ON THE PIANO FORTE; designed for the use of both Parents and Pupils, in a series of short Essays,-Dedicated to the young Ladies of the Musical Seminary. By W. NIXON. Cincinnati : J. Drake, pp. 96, 24mo.-1834. WE have examined this little volume with great pleasure. Among the innumerable multitude of modern books, we have nothing else extant on the subject, that is at once so free from needless technicalities, and so well fitted for general circulation. Mr. Nixon is very evidently a man of practical good sense, as well as an accomplished professor of his art. He saw, with many others, the need of just such a book as he has written; but he has not been content with merely seeing this great want. What others have not done, he has accomplished. The work consists of twenty chapters, in the course of which the author treats of the various causes, why so many learners fail of ultimate success; and he exposes, with an unsparing hand, the whole mystery of "quack music," exhibiting at the same time the genuine principles of the harmonic art. To illustrate these observations, we make the following extracts: "A young lady who had been bungling for a year or two, over a few simple marches and waltzes, and accompani ments to songs, that exhibited nothing but diversifications of the chords of tonic and dominant, was resolved to commence Moschelles' variations to the Fall of Paris!!! With this, she strove a quarter with one teacher, and a quarter with another; till, on informing one to whom she applied, that for two years it had been her ambition to learn the piece without effect, he, to her surprise, observed, that on her present plan, twenty years would be insufficient for the purpose. To illustrate his meaning, the teacher pointed to a lofty house, remarking that in twenty years, a person could not be made to leap on to the roof; but that he might be soon, there, were he to submit to the much more easy process of ascending the stairs:--(i. e.) would adopt a progressive system.' "Porpora, perhaps the greatest of the old Italian masters, and known as the preceptor of Joseph Haydn, Domenico Corri and others, the most eminent of the Italian school, asked one of his pupils, for whom he had conceived a great friendship, if he would have courage to pursue whatever course he, Porpora, might point out. On being answered in the affirmative, he wrote on a sheet of ruled paper the diatonic and chromatic scales, ascending and descending; together with the intervals, and a variety of shakes, turns, and other pra tices in vocalization. "Day after day, and year after year, was this page produced and re-produced. About the third or fourth year the pupil began to murmur, but was reminded of his promise. The fifth year came also, and every day brought the same everlasting leaf. The sixth too, was similarly attended; but accompanied by lessons in pronunciation, declamation, &c. At the end of this year, the scholar, who still imagined himself only at the connnencement of his studies, was struck with astonishment, on hearing his master exclaim, 'Go, my son, thou hast nothing more to learn; thou art the first singer of Italy and of the world.' What he said was true;-the singer was Caffarelli !" From not a little knowledge of the prevailing state of things in many of our female seminaries, we are struck with the great justice of our author's criticisms, and can bear our decided testimony to the faithfulness of the scenes which he so successfully depicts. He may well be called a fearless preacher of the truth. And incalculable benefit would be ac complished, if his doctrines were illustrated by the practice of our musical instructors. Never more should we then hear of twenty tunes in six lessons;" but a persevering study of the sound principles of music, would enable the industrious scholar to acquire a mastery of the subject, which would prove a source of innocent and rational enjoyment throughout life. One picture of the ills arising from a mere desultory course of teaching, is given by our author, and is true to the very life. "The last general objection to the 'desultory' plan, that whall at present be attended to, is, that after the young lady has left school; (or, at all events, when, after marriage, time becomes more precious, as the more important affairs of life accumulate around her,) the Piano Forte is closed;and, but too frequently, closed for ever. "The husband perplexed, perhaps, by the toils of business, and disgusted with the petty intrigues and overreachings of those about him; or confined to the house by sick. ness, or the storms of a winter's evening, and anxious to resort to music to unbend his mind, to revive the memory of time gone by, to increase the soft endearments of domestic society, and enhance the pleasures of home, invites his wife to accompany him on the Piano Forte; but unfortunately, she was never taught this or that piece of music, 'and could not even attempt it.' 'Well,' he observes, 'play something you are acquainted with.' Why really I should, with pleasure;' she replies, 'but I am tired of playing the same tunes over and over; and besides, it is so long since I touched the Piano, that I must first of all, get time for practice.' "Were the case analyzed, the following would he found its constituent parts. First, the lady not having acquired those principles of fingering, time, &c., which, according to the attention devoted to them, would have been available, the difficulty of reading new music without the aid of a teacher, and the inconvenience of affording time for its practice, even if a teacher were engaged, rendered the attainment of it nearly impossible; while, secondly, the stock on hand, being mechanically set there, like little tunes upon a barrel-organ or musical enuff-box, had become monotonous; and had ceased to yield either interest or gratification." The 'Guide to Instruction' is not, however, a critique only on prevailing evils in imparting to the young a knowledge of our subject. Mr. Nixon treats, from the IXth chapter to the close of his book, on the "Principles of the Art of playing on the Piano Forte,”—first, of | POSITION and MOTION, that is, a graceful seat and attitude, correct position of the hands, and proper action of the fingers; and second, of the PRACTICAL KNOWLEDGE OF INTERVALS, or such a clear conception or well defined idea of the musical intervals, or distances between the different given keys, as represented by their signs in the book, and such a power of instantaneously taking those intervals with grace and precision, as may make music, what it ought to be to those who study it, a written language. Our author's third topic is TIME, or a possession of that habit of mind, which secures the accurate measurement of the distances, and of the divisions and subdivisions of the distances between the musical accents. His fourth topic is EXPRESSION, or the capability of eliciting the soul of music, and evolving its mysterious influence. On each of these four points, we might adduce apt citations. But our limits will not admit of this; and our simple object in this brief review, is to commend the work of Mr. Nixon to our readers, as a very sensible and judicious, although brief and cursory, treatise on the subject which it presents. We cannot forbear, however, to quote one passage from the concluding chapter, both as a specimen of the author's style and manner, and of the earnestness with which he recommends the factory and permanent results can be attained. progressive system,-by which alone any satis "A musical ear, or the power, delicately to distinguish sounds, is so susceptible of cultivation, that few, in comparison to what is supposed, are incapable of making a respectable progress in music. This being in all probability indisputable, the requisites for becoming an accomplished player may be enumerated thus:-A good ear, quick perception, habit of attention, steadiness or presence of mind, rapidity of sight, or ability to anticipate a knowledge of the succeeding phrase or passage, flexibility of finger, and lastly, taste, or the capacity for perceiving, and being influenced by what is beautiful in nature and impressive in mind: and it will then be obvious, that it is to industry and observation we are to look for that improvement of the above faculties, which can alone constitute the skilful and pleasing performer. "It is neither from intuition, nor from any talismanic operation, that we can hope for useful attainments. System and intellectual application are the road and vestibule to the Halls of Science and the Laboratory of the Arts:-it is from study or mental effort, that we derive mental improvement; and by practice that we acquire skill. Intellect is the lamp that sways the Genii of Science, and system the secret that commands their obedience!" [The following article so well expresses our own views on an interesting subject, that we willingly comply with the suggestion of a correspondent to insert it. It was first published in the Pittsburgh (Pa.) “Friend."-ED.] Ir is often said by individuals, that they have no ear for music; giving this as an excuse why they pay no attention to it. This may be true enough in one sense, if they mean that they have no relish for it. But why is it? As well might they say, that they have no ear for speaking. But it is not true, if they mean that they cannot distinguish between sounds, especially if they can perceive any difference between the sounds of a flute and the roar of thunder. Nor is it true, if they mean that they have not the powers necessary to make music. If they have the natural powers or organs of speech, they have all that is necessary to sing. For music is as natural as speech; that is, it is as natural that persons should sing, as that they should speak. This appears from the fact, that each operation is performed by the same organs, at the same time. We sing and utter distinct articulate sounds or words. But some one may now be ready to doubt, and to ask, if this be true-Why do not all sing who speak? The answer is very plain; and I might as well ask, why do any speak? If we look at mankind as they are, we shall find that very few of their actions or muscular motions, are performed without previous effort. A child never walks without considerable effort, even after it has all the strength necessary. Nor can it talk, until after a course of instruction by the parents, who labor for months, before they have the pleasure to hear it lisp the name of pa or ma. And this course of training is thought to be altogether right and necessary; and it is in no case ever expected that the child will learn to speak of itself without it. Why then expect that any one will break forth into sweet harmony of song, as if by magic or some divine impulse? The like was never exhibited in regard to walking or speaking; why then should singing be an exception? Every thing is learned by effort of some kind, and that generally by effort proportioned to its importance. And it will be found true by the experience of any one who should try, that a child of six, eight, or ten years of age, would be made to sing with less, or at most, equal effort with that by which it learned to speak. It evidently can be accomplished in less time. The practice of many older persons in learning to sing, is worthy of notice here. A great mistake has long held the minds of many from making the proper efforts on this subject, who might otherwise have become good musicians. They hear the sweet sounds of music, and desire to sing also. They repair to an instructor, who very willingly offers to assist all that he can. Well, what is to be done? The teacher very wisely tells them, that they must all sing for themselves; for he can only tell them how. Now, sound." After a few hesitating efforts, they make a tone of some kind; it may be correct. "Very well! Now rise with me through the eight notes." They after a few more haltings, strike the first sound. But when the teacher rises to the second sound, some still hold on to the first. "What does he mean by rising the eight notes?" they inquire. Some strike a fourth, others a seventh, and others still strike no sound at all, that belongs to music. Now as no one is so insensible to harmony as not to perceive some jarring and unpleasantness from such a combination of sounds, they feel that something is wrong. What is to be done? Here is a failure in the very first attempt! It is well that people are sometimes persuaded to make the second. Or it may be that they summon energy enough to continue for a week or two, and are beginning by that time to sound the notes with some facility in their different order and connexion. But because they cannot sing to their satisfaction, the conclusion is drawn that they cannot learn at all, and so they give it up! Who ever accomplished any thing worthy of being accomplished by such an effort? The truth is simply, that such acting and thinking are perfect nonsense. As to the readiness with which individuals learn to sing, there is no doubt some differ learn to speak more readily than others, but no one ever dreams that all cannot learn. With these remarks I come to the conclusion, that there never was an individual gifted with the common faculties of speech, who made proper efforts at a proper time to sing, and failed. Nor do I believe there ever will be. This conclusion is supported by the experience of the best teachers, who have also given this as their opinion. As to the time, I suppose that we should act in this, as we do in other cases,-educate while young. The objection which old people might urge against their ability to sing, has no force here, and should not be admitted. Even in the case of many of them, it would not be true; for many have learned who supposed they could not, and many others no doubt might, if they would be persuaded to try. But of those who cannot learn to sing, it may be said, without going far from the truth, that they would find equal difficulties in learning a foreign language, especially one of difficult pronunciation. In our estimation of music, it should ever be borne in mind, that it is a language; not the language of brutes or of nations, but the universal language of the human soul. Other languages vary with the different tribes and nations of the earth. But this remains the same among all, and is alike understood by all, whether savage or civilized. It finds every where chords in the human heart, which vibrate in unison with its sweetest melodies. PHILO MELIS. SINGING CONDUCIVE TO HEALTH. MANY parents in encouraging the development of musical talents in their children, have no other view than to add to the number of their fashionable accomplishments, and afford them a means of innocent solace and amusement. It was the opinion of Dr. Rush, however, that singing is to young ladies, who by the customs of society are debarred from many other kinds of salubrious exercise, not only to be cultivated as an accomplishment, but as a means of preserving health. He particularly insists that vocal music should never be neglected in the education of a young lady; and states, that besides its salutary operation in enabling her to sooth the cares of domestic life, and quiet sorrow by the united assistance of the sound and sentiment of a properly chosen song, it has a still more direct and important effect. "I here introduce a fact," remarks Dr. Rush, "which has been suggested to me by my profession, and that is, that the exercise of the organs of the breast by singing, contributes very much to defend them from those diseases to which the climate and other causes expose them. The Germans are seldom afflicted with consumptions, nor have I ever known but one instance of spitting blood among them. This, I believe, is in part occasioned by the strength which their lungs acquire by exercising them frequently in vocal music; for this constitutes the essential branch of their education. The music master of our academy has furnished me with an observation still more in favor of this opinion. He informed me, that he had known several instances of persons who were strongly disposed to consumption, who were restored to health by the exercise of their lungs in singing." BOSTON ACADEMY OF MUSIC. The third Annual Report of this institution, alluded to in our last, exhibits, in a pleasing manner, a view of the suc cess, with which its valuable efforts have thus far been crowned. The fair prospects which invite it to go on in its good work, are truly cheering. From our heart we wish it all prosperity; and we doubt not, that it will realize the hopes which it has fostered. At a future period, we propose giving a brief sketch of its origin and history. We can at present, only make the fol lowing extracts from its last annual report now lying on our table; and we commend them, with great satisfaction, to the favorable notice of our readers. ED. JUVENILE CLASSES. Instruction in the principles of vocal music has been given by the professors, to between 800 and 1000 children, and from 4 to 500 adults. The school for gratuitous instruction to children, is still continued, and is open to pupils from all parts of the city, and of every religious denomination. It is a pleasing sight to behold them on a Wednesday or Saturday afternoon, flocking to the school-room to pass an hour in learning to sing, which other children spend in play. It is pleasant to see their countenances glowing with health and lighted up with animation, and to observe the progress which they make in an art which is capable, under judicious management, of contributing to their own health and happiness, and to the enjoyment of others. ADULT CLASSES. With regard to adult classes, it is encouraging to remark a growing interest in the subject of music. This is to be attributed in a great measure, to the facilities which the system introduced by the professors, gives to those who are desirous to learn. All who have paid attention to it, give it their decided approbation, and its simplicity and comprehensiveness will inevitably supersede all those methods of instruction which have preceded it. Individuals now find that instruction does not consist in encumbering the mind with unconnected and unintelligible rules, but that it proceeds upon simple principles easily understood. The stumbling blocks being removed, we may reasonably expect an increase of attention and interest in music. COMMON SCHOOLS. It Instruction has been given in several schools of this description, and with great success. is the testimony of the principals of these schools, that it does not interfere with the regular studies of the pupils; that it is an agreeable relaxation to their minds; and that it exercises a happy moral influence on their conduct. No teacher of youth who has once tried it, has given it up. SCHOOLS FOR TEACHERS IN MUSIC. One of the objects which the Academy contemplated as subservient to the cause of music, is the formation of a class for instruction in the method of teaching music. The various subjects which pressed upon the attention of the government, prevented them from turning their attention to this point before the last sum superior to any other with which they have been acquainted, and some of them have been teachers of music for years, and of course may be supposed to be competent judges. Letters, recently received from some of these, express the same favorable opinion, after having an opportunity of testing its utility by a course of instruction given to a large number of pupils. They also state, that wherever they have introduced it, their pupils, of an age qualified to judge, concur in the opinion of its superiority, and express themselves highly pleased with it. It is thought very desirable that this class should be sustained. There is a want of teachers properly qualified; and it is believed that many would be willing to receive tuition, if they were not deterred by the remembrance of the fruitless experiments of former years made under the old method of teaching. Though it is possible for an instructor to succeed with the help of the Manual' alone, yet it would be a great advantage to him, if he should attend a course of instruction under the professors. CHOIR OF THE ACADEMY. The choir of the Academy, which the last flourishing condition. It consists of about a report mentioned as in its infancy, is now in a hundred members of both sexes, who, with a praise-worthy zeal have united for the purpose of their own improvement in the performance of vocal music, and principally with the view of promoting a chaste and correct style of execution in sacred music. They hold regular meetings once a week, at which both the professors attend and give the necessary instruction. The punctuality with which the members attend these meetings, and the devotion to the object of them while together, is worthy of remark and commendation, and furnishes ground to expect that they will prove highly efficient and valuable instruments in promoting the cause for which they are associated. JUVENILE CONCERTS. The juvenile classes during the year, have given three concerts under the direction of the professors. These have been of a character to show that an improvement has taken place, both in the capacity of the children to read music and to execute it. There have been and still are those who doubt if young children can be taught the principles of music, and whether all that they do in this art ranks any higher in mental effort than the performance of a parrot. Some of these sceptics have had their doubts removed by these exhibitions and a visit to the school-rooms of the Academy; and we should be glad to have others take an opportunity of examining for themselves, and use the same means of correcting the error into which they have fallen upon this subject. We think we run no great risk in saying, that we have pupils in these classes of the age of twelve years, who can read music with more facility, and perform it in a more proper style, than many approved leaders of choirs in our churches. ORATORIOS OF THE CHOIR. In addition to these exhibitions of the younger pupils, the Choir of the Academy have given six oratorios, consisting of selections from the most approved compositions of the ablest masters in the art. These performances though without any other instrumental aid than the organ, were of surpassing excel lence, showing the skilful training of the choir and the diligence with which they had used the means of instruction which they have enjoyed. The increasing numbers of those who have attended these oratorios, as well as the approbation which has been bestowed upon them by judicious critics, bear ample testimony to the high character of the performances and the efforts of the professors in this department of sacred music. Besides the regular concerts given by the choir, they have been called upon to furnish music upon several public occasions. THE FAMILY MINSTREL. NEW YORK, JULY 15, 1835. TO CORRESPONDENTS. The musical composition contributed by "D. E. J.," come to hand, and shall soon be inserted. has "W. N." shall cheerfully have a place in our next ; and we trust that he will furnish us with more of the results, which his practical knowledge of his subject has collected. A correspondent, in contributing an article, desires that, if inadmissible, it may not be noticed among excluded com munications. And as his words import, that our not admitting some articles sent to us, implies their want of merit, we unequivocally and promptly correct the great misappre hension. Many papers of great value, may be thought unsuitable for our columns, because the same general train of observation has been previously presented to our subscribers, or because other articles on the same topics are in prepara. tion by our friends. In the particular case of our present correspondent, however, such is not the fact; and he may soon expect the insertion of his valuable essay. "I. N.'" Music, entitled 'The Request,' is very wel come, and shall have a place. The Essay in answer to the question, "What is a Composer ?" shall appear in the next number of the Minstrel. SUNDAY CONCERTS. In a former number of our work, we mentioned that, in Paris, every Sunday evening is appointed for the musical performances of the COMIC OPERA. This egregious profanation of the Lord's day, is too palpable to need one comment, by way of deliberate reproof and condemnation. It bears distinctly upon it its But in principle, how do our own foul mark. New York Sunday Concerts differ from the Parisian Operas? Is it said, ours are Sacred Concerts, theirs are Profane Operas? We apprehend, from some minute inquiries on the subject, that very little of the occupation of the attendants at Niblo's and the Vauxhall Gardens, on Sunday nights, is the worship of Almighty GoD, the Lord of the sabbath. To the spectator's eye, there is very little to be seen, that can be called sacred, either as regards the place of the exhibition, the object of the performers, or the prevailing sentiments and feelings of the auditory. It might be deemed invidious, or some facts might easily be stated, in corroboration of the justice of these comments, The responsibility which rests on those, who open gardens and frequent gardens, on the Lord's day, under semblance of religious worship, is such as we should tremble to assume. The money gained by exhibitions of this character, is not worth naming in the estimate of their immoral tendency. In our view, they are the entering wedge, for the future introduction of something still more "a la mode de Paris." Our authorities, who are our patres conscripti, the municipal fathers of our city, should keep an eye to foreign innovations, and, if possible, nip this poisonous weed while in the bud. MR. SAMUEL DYER. It was with sincere regret, that we heard of the death of this well known and justly valued musician and most estimable man. He died some days since, at Hoboken, near this city, and, as we understand, was suddenly summoned to exchange the view of things which are temporal for the contemplation of those which are eternal. Of his worth, we held a high estimate. He was beyond doubt, a very successful teacher of the art of music, and has largely contributed to the best interests of Sacred Harmony. It will afford us pleasure to insert a sketch of his life, which a friend and patron has induced us to expect for our columns. CLINTON FEMALE SEMINARY, (GEORGIA.) We hail with pleasure every testimony to the fact, that music is on the advance throughout our country. Not only in the New-England States, but in "the far West," and in the South, are afforded auspices of good for our cause. The "Macon Messenger," and the "News," published at Washington, Georgia, both speak in commendation of the successes accomplished by Mr. THOMAS B, SLADE, the Principal of the Clinton (Georgia) Female Seminary. He has our best wishes for the continuance of his prosperity, especially as his system is commended for being peculiarly practical, and associating music with the highest domestic and religious obligations. We feel well assured, that it is from the proper cultivation of this art in our schools and seminaries, that we may hope for the preservation of the most hallowed sympathies of life. NORFOLK CONCERTS. The reputation of Mr. Masi, who has been so successfully employed in the cause of music at Norfolk, calls for at least a passing tribute from our hands. We have now before us the "Norfork Herald," containing a detailed account of a private concert, in which a number of young ladies, pupils of Mr. M., are said to have acquitted themselves with the greatest credit. The performances on the occasion, were certainly arranged with judgment; and, from the editorial and other statements which we have seen, we are led to augur good things, in regard to our Southern votaries of "the harmonic art." In a private letter, one of the auditors of the concert, has thus expressed himself: "Since my departure, I have often, and with pleasure, recollected that delightful little Concert with which Mr. MASI favored the good people of Norfolk; and sometimes, I even doubt if I have not been dreaming,-for, certes, I had never for an instant supposed it possible that children, babies I may call some of them, could by any instruction, attain so excellent a degree of perfection on any instrument,-least of all, one so difficult as the Piano Forte; and nothing, I assure you, but the evidence of my own senses, could have ever convinced me of the fact. I am no admirer of what are called pieces of music; I suppose, simply, because I don't understand them; but really, in this instance, there was a grace and buoyancy of touch,-a taste,-a skill and correctness of execution, which very unceremoniously seized my attention from the beginning, and was decidedly a touch above any thing I have seen or heard lately. "The accompaniments upon the harp were beautiful indeed. Oh, it is 'killing' sweet-sweetly stealing o'er the senses, hushing each restless and unholy passion, and instilling a thrilling calm,-such 'As when Seraphic hands an hymn impart, PRIZES FOR MUSICAL COMPOSITIONS. The Directors of the Philharmonic Society of Philadelphia, offer three honorary medals, as prizes for composition, under these regulations:-a Gold Medal for the best Overture for full orchestra; a Silver Medal for the best instrumental Quartett for four instruments; and a Silver Medal for the best vocal composition with English words, for not less than four voices, and not to exceed from seven to eight minutes in the length of its performance. The compositions are to be the property of the Society, and to be presented in score, with the author's name under seal, on or before September 1, 1835. The judges will be chosen from among such Professors as shall not be candidates; and every care will be taken to preserve the strictest impartiality. Address "The Philharmonic Society, to the care of Messrs. Fiot, Meignen & Co., Music Store, Chesnut-street, Philadelphia." This offer is made by the Directors, through Messrs. L. Meignen, B. Cross, W. H. W. Darley, and J. C. B. Stanbridge. The Directors of the Musical Fund Society of Philadelphia, offer two medals, as honorary prizes-a Gold Medal for the best Overture for full orchestra; and a Gold Medal for the best vocal composition for not less than four voices, with English words of either a gay or serious nature, and not to exceed eight minutes in performance. These compositions are to be the property of the Society, and must be addressed, with the author's name under seal, on or before September 15, 1835, to the care of Messrs. Loud & Co., Music Store, Chesnut-st., Philadelphia. The medals will be awarded by five judges, Professors of Music, none of whom shall be competitors for the prizes. "COME, thou enchantress, Music, with thy strains, |
