TWO DOLLARS A YEAR,] VOL. I. A MUSICAL AND LITERARY JOURNAL. LET ME MAKE THE SONGS OF A NATION AND YOU MAY MAKE ITS LAWS." ORIGINAL COMMUNICATIONS. REFLECTIONS BY MOONLIGHT. Hail! lovely Moon! Fit emblem of a Christian's walk through life!- The Christian's walk thro' life is oft bedimm'd by clouds- And all thy chasten'd beauties burst upon our ravish'd gaze! Altho' bow'd down by sorrow, and frequent are his sighs unheeded, Save by the passing breeze whispering around him, Yet, ere long, his anguish is exchanged for joy, extatic, heavenly! He becomes possess'd of that "peace which passeth understanding," Which the world can neither give nor take away: I can behold thee, though obscurely! His spirit is soaring far away to regions of eternal joy!— sod Where "the wicked cease from troubling, and the weary are with GOD." E. J. R. AN INQUIRY INTO THE ELEMENTARY CONSTITUTION OF THE SPEECH, AS A MUSICAL SCIENCE. THE same light which has enabled us to NEW YORK, JANUARY 1, 1836. disposed to draw uncharitable conclusions, we might infer from the rapid manner pursued in reading the liturgy of the Episcopal Church, that the end of the service was the principal object of the reader's ambition,—that solemnity of manner, pathos or expression were secondary objects. The intonation and rapidity of utterance in which the prayers and litany are sometimes clothed, are more suitable to the recital of the school boy's lesson or the reading of a newspaper advertisement, than the utterance of that which is intended to show us the littleness of our condition—our dependence on the bounties of heaven, and to lead our minds to a nearer communion with the Being to whose wisdom and benevolence we are indebted for existence. We have already observed the defect arising from the want of accentual force in many readers and speakers, and the dull monotony consequent thereon. The want of a proper distinction of Emphases might, perhaps, be noticed under this fault. As to misplaced application of Emphasis we shall say but little; much depends upon individual conception in this matter. When a sentence admits of varied interpretations, two individuals might emphasise it differently, and each, in his apprehension of the sense, be correct. Of such a character is the sentence "Hang out our banners on the outward walls, If "outward walls" are to be distinguished, the emphasis would rest on them,"-if "our place before our readers the beauties of Speech, banners" are to be presented in bold relief, will guide us in our researches into the faults of readers and speakers, the analysis of intonation. The defects in Elocution are the misapplication of its beauties. We shall examine them under the faults in Quality, Time, Force, Abruptness, and Pitch. In relation to Quality, we have already detailed the method of improvement. We would, however, here remark, that a shrill voice is never dignified. It produces a caricature when thrown over the literal language of sublimity, pathos, or awe. The means heretofore advised to strengthen and reduce the pitch in the voice, will, if persevered in, eradicate this defect, though existing naturally. The faults in Time are two: When language, expressive of devotional solemnity, of awe, grandeur or dignity is hurried over with short quantity and quick time, the fault is too glaring to escape the most common observation, and when language, expressive of mirth, eager argument, strife, debate, and their relatives, is read in the lengthened quantity and slow time, which more properly belongs to dignity, it produces the voice of drawling-so unpleasing to an acute ear. The former defect, that of hurrying over solemn or dignified | discourse, is the most common, and pervades, particularly, the delivery from the pulpit. If "they" would require emphasis. In the following couplet from "Goldsmith," "A man he was to all the country dear, if "passing" is taken in a superlative sense, it would require a distinctive emphasis; if the clergyman merely passed for rich, that is, was independent of the world, but had nothing beyond that circumstance, the emphasis must be transferred from "passing." The faults in Pitch are various: The most remarkable among them is that union of Song and Speech, which distinguishes the preaching of the Society of Friends, and which is one among the faults of that moral society which we would gladly see removed. It has the appearance of canting, and we suspect is the secret of that magic influence by which the leaders of the Puritans, in the time of Cromwell, held in vassalage the minds of their inferiors in arms. It is the mixture of the semitonic song with the concrete of speech. We have already shown, in another paper, that the semitone is applicable to the expression of grief, love, pity, and their relatives. Such being its uses, it is naturally opposed to the manly assertions of confidence or the bold self reliance of truth. When thrown over [PAYABLE IN ADVANCE. NO. 23. language expressing these conditions of feeling, it assumes the appearance of cant,—of a wish to appear better and more amiable than we really are. It is the supplicating whine of the beggar, who solicits your charity under the mask of poverty and sickness,-but perhaps under the reality of knavery and strength. The faults in the application of the tone or second, arise from its substitution in the place of the lengthened intervals or the semitone. The ear as well as the eye requires relief. While Nature has, generally, thrown over the vegetable creation her mantle of green, to relieve the eye from the more vivid impressions, she has furnished the voice with the diatonic second, to relieve the ear from those high and piercing inflictions which portray the passions of humanity. When used, however, as it sometimes is, for thirds, fifths and octaves, it destroys the expression of feeling in the unimpassioned intonation of thought. The most general fault in its application arises from its substitution in the place of the semitone. We hear the Litany sometimes read in this second of tone. There appear to be individuals whose temperament is so cold, so frigid that they are unable on any occasion, to raise their voice to that condition of pitch, necessary to give a vivid coloring to the mournful expressions of sorrow or the supplicatory intonation of prayer,-giving utterance to language representing these sentiments, and which require the semitone, in the matter-of-fact intonation formed by the diatonic second. The faults of Melody are numerous: The first we shall notice is that of a prevalence of Monotone, or a continuation of consecutive intonations on one line of radical pitch. There is, of course, no variety in such reading. Such speakers, when addressing large assemblies, are apt to assume a high radical pitch just below the falsetto voice,-the fear of breaking into which compels them to keep on a monotone at a high pitch. Unaware of the fact that to speak loud is not to speak high, but believing the reverse to be true, they are not willing to descend by a change of radical pitch lest they should cease to be heard, and by the repetition of such a practice eventually acquire a habit of making use of a high and disagreeable monotone on every occasion in which they are called on to give forcible utterance. We again repeat, for the information of such individuals, that a low pitch, exerted under a corresponding degree of forse, will cover a space and be heard distinctly, to which a high pitch would not reach. Sound is the same in its general principles under all its modifications. The bass notes of an organ will be heard distinctly long before the tenor and treble; and the voice of a bass singer will be audibly distinguished above the united choir. Melody is often deformed by a return of the same phrase at the termination of every line. This is so common a fault and so disagreeably monotonous, that we shall exemplify it by diagram: The Curfew tolls the knell of parting day,- The lowing herd wind slowly o'er the lea, The ploughman homeward plods his weary way, And leaves the world to dark-ness and to me. By referring to the above notation, it will be seen that, although the current of the melody on each staff varies, yet the terminating notes in each line are identical. We have thus the same intonation at the end of every line. The diatonic scale, with its changes of notes and the sequences which may be formed from them, furnishes ample resources by which to produce an ever-varying melody, not only in the general current of reading, but at the commencement and termination of every poetic line. To illustrate its powers in this particular, we shall place the above stanza under a different notation, both in relation to its current and the beginning and ending of its lines: The Curfew tolls the knell of part- ing day, The lowing herd wind slowly o'er the lea, The ploughman homeward plods his weary way, And leaves the world to darkness and to me. The changes which might be made in the arrangement of notes in this passage, would give rise to, at least, thirty or forty more melodies to it, if desired. With such powerful resources for change and beauty within his range, the accomplished elocutionist never tires by an unvaried monotony: He is master of the scale practically as well as theoretically, and strikes its varied notes as pleasure, variety and harmony dictate. A fault which has the appearance of affectation, and which prevails among some readers in a high degree, is that of dwelling too long on the subtonic commencing elements of a syllable, passing its tonic and remaining sub or atonic elements rapidly through the vanish of the concrete. We have also assigned to the tonics the most conspicuous place in the compound of expression. We have said, that they bear the full impression of the radical stress. When, therefore, a subtonic element begins a syllable, notwithstanding it increases the time and does take up a portion of the radical impression, yet the more full and vivid character which is given to the syllable, when the voice opens on the tonic, nearly destroys the effect of the former. In the method of speech to which we have above alluded, this natural order is reversed,-the voice dwells on the subtonic and passes rapidly through the following tonic and other elements. Let the reader prolong his voice on the elementary sounds, marked - in the following quotation from " Macbeth," and he will have no difficulty in comprehending our meaning: "Can'st thou not m-inister to a mind diseased PI-uck from the m-emory a Tooted sorrow," &c. Every portion of the concrete ought to take up an equal division of time. In the above reading, the subtonics consume so undue a proportion that the remainder of the syllable is lost to the ear in the diminished, rapid and defective portion of the concrete. Yet such was the reading of this celebrated passage by an English actor of no common celebrity, on an American stage,—a man who received an undue share of applause for what we shall venture to denominate ranting and mouthing, and who has subsequently, departed to that bourne where applause or censure will be heard no A defect not unfrequently met with in religious assemblies, is a deficiency in taste of any kind, which we set down as decidedly worse than a taste somewhat vitiated. The congregation are indifferent whether there be any singing or not, or whether that singing be of any kind of character, and sit down after the performance as much pleased and edified when the music unstrings the delicate nerves and tortures the cultivated ear, as when it is of the most refined character. It is a common idea prevalent among all sects of Christians, (Quakers excepted,) that music of some kind is a necessary part of divine worship, and such an audience as I am describing, unite in it from a sense of duty, and are doubtless most happy when the task is over. It would be strange, indeed, when the audience are SO destitute of taste, if the performers should be found much better supplied, and they, therefore, plod through their parts with all imaginable irksomeness. This defect is most glaring when we take into consideration the total barrier it presents to all improvement in the science of vocal music. Fully satisfied that the singing is good enough, this defect seals hermetically the mouths of their pockets, and effectually prevents the escape of a single sixpence for the advancement of sacred song. This wretched expense of hiring teachers and choristers, they tell us, draw heavily upon their purses, and they wonder why the choir cannot be contented when they sing well enough. This argument, so flattering to avarice and indolence, has the desired effect. The singers are satisfied when the audience are pleased, and therefore con tinue to tickle the ears of their auditors in precisely the same manner as for ages past. I am a little inclined to suspect that Avarice has a full share in causing this defect, and it is no very unusual thing in the country, for the members of the choir, who spare neither pains nor time, to defray the greater part of the expense of singing, and get few thanks in return for their labors. No good singer will pretend that music is not a source of extreme gratification to himself, and yet while singing for the benefit of others, he thinks it no unreasonable requisition that they should bear their portion of the expense. Young men, particularly, are expected to fill an orchestra, and shall they be burthened with expenses in addition to their toil? Shall they, who are least able, be expected to surpass the old, the respectable, and the wealthy in their liberality? And even were they able, is it right that a few individuals should bear the heat and burthen of the day?' E. E. THE INFLUENCE OF A MUSICAL EDUCATION. NO. V. MR. EDITOR,-We come now to consider the last, and I may say the most important part of our subject, viz: the influence of a thorough education in Music upon the service of the sanctuary. It is probable that no mortal is acquainted with the full bearing of Sacred Music upon the interests of the Christian church, nor is it at all likely that the designs of GOD, in constituting it a part of the worship which he is willing to approve, have ever been fully understood or appreciated. The great Author of our Religion, seldom condescends to explain to his dependent creatures, the reasons for any of his enactments: He simply ordains,-it is our duty to obey. And a perfect illumination on the causes which led to the adoption of those measures, which to us are mysterious, may be reserved to reward a faithful performance of duty on earth, when our translation to a brighter sphere shall alter our relations with our Maker and Governor. So in the establishment of Music as a part of the service we owe to his Divine Majesty, the great Lawgiver has not chosen to explain in what way it may contribute to his praise, or be serviceable to our own spiritual interests, for us to address songs of thankfulness and adoration to his name; but he has left all that is not self-evident to our minds, to be unfolded to us hereafter, when the expansion of our intellects shall have adapted us more fully to comprehend the magnificent economy of his empire. But on this account, and because but little benefit may have arisen under their own observation from a due attention to the culture of Sacred Music, some have become sceptics on this point, and have expressed their opinion of singing as a devotional exercise, in very moderate terms. They are not prepared to abolish it altogether from the service of the house of God; but still, they do not view it in that exalted light, in which it should be contemplated, and in which I have endeavored to place it, in these very superficial essays. But let us see whether such may not be greatly in error, and let us endeavor to set them in the "more excellent way." It seems now to be pretty generally conceded, that the exercise of singing "Psalms and Hymns and Spiritual Songs" is not only one of the noblest parts of the service of God, but that it is of divine appointment and origin. Taking this for granted, therefore, that it is of divine institution, is it not probable that GoD is equally wise in constituting it a part of his worship, as in the appointment of prayer and thanksgiving? We certainly have no reason to think otherwise. If then it is a wise establishment of GOD in his church, must not any thing that subserves its interests, welfare, and becoming performance, be of great moment, and worthy of every attention? This will not be denied. We propose then to show, that the instruction of children in the theory and practice of music, is the most efficient means of securing a decent performance of this duty in the churches. If this can be proved, we shall gain the important point, viz: that of producing conviction in the minds of the Christian public, (to whom these essays are addressed,) that the musical education of youth, is all important and deeply obligatory upon them. Without going into a studied argument then, we shall adduce an example which will serve to illustrate the practical effects of an early initiation into the principles of the art of music, and especially of sacred music. Let us refer then to some congregation in which the service of singing is very indifferently performed. The officers have tried every expedient in their power to improve this part of their worship-but in vain. They are at length informed of a means which, if resorted to, will prove a certain remedy. They deliberate upon its expediency, and finally agree to adopt it, and act upon it. Here it may be asked what this remedy is? In answering this question, I shall first speak negatively, and afterwards affirmatively. And first,—they do not open a singing school for two or three months in the winter, for this they have already done, till they have given up all hopes of success. Secondly,-they do not engage a man to stand under the pulpit, for they have done this, till the poor man has lost all his energy and courage. Thirdly, they do not hire two or three female singers from the stage: This they have done till conscience absolutely compelled them to relinquish the enterprise. What do they? They give their children a musical education. We have seen in former essays, that the combined energies of Poetry and Song will exert a most benign influence upon the heart of youth; consequently the susceptibilities of those who have been reared under its power, are greatly quickened and refined. We now suppose that every child in the congregation referred to, has grown up. They take their seats in the 'sanctuary. They have the music before them as well as the poetry to be sung; and they can read one with as much facility as the other. The Psalm is announced, and what is the result? Will the singing resemble the dying agonies of the body? Will there be here and there but one who can "make a joyful noise unto the GoD of his salvation?" Will not one united shout of praise burst from every lip and swell from every heart? Oh! what acclamations! What loud triumphant | chords! Can the hearts of the impenitent remain unfeeling and unaffected in such a place? In particular would I ask in reference to those who have received a musical education, whose hearts have oft been melted and subdued under the constraining influence of Poetry and Song, would they not be elevated to the most exalted and glorious ecstacies? And under these circumstances, would there not be far more hopes for their salvation than for that of those who are not susceptible of being thus affected? Suppose every child in the land was to receive a thorough education in music. What effect would it have in ten or fifteen years from now upon the church of Gon, when all these children grow up and take their places in the sanctuary? Oh! what tongue can tell the probable benefits that would accrue? In review of this subject, what encouragement there is for those who are engaged in the instruction of children in music, to persevere in their labors. Secondly,-How important it is that Music should be made a branch of education in common schools; for until this is done very little will be accomplished. Thirdly,-Ministers of the gospel should see their duty in reference to this matter; for until they put themselves to the work, nothing of any consequence will be effected. Fourthly,Parents have their duty to perform: Until they send their children where they can receive a musical education, the Music of GOD'S House will still be a burden and a heinous sin in the sight of the Most High. When the veil is taken from our eyes, and we view this subject in the light of heaven, then we shall see it in all its important bearings, and not till then. SELECTION'S. AMICUS. [The following remarks on the propriety of learning to sing on the Lord's Day, are copied, by request, from the New England Spectator, published in Boston. We insert them with pleasure in our columns, and hope that those who "have been in deep trouble in regard to this very thing," will give the public their views. We are aware, that a portion of the Christian public will not be governed by the decision of "association;" for, say they, if it is wrong to learn to sing on the Lord's Day, it is equally wrong to learn to read on the Lord's day. Is not, then, a temperate and consistent investigation of this subject much needed? ED.) FOR MEETING ON THE SABBATH THE PURPOSE OF LEARNING TO SING, Or for Improvement in the Art of Singing. I am well aware that I approach a delicate subject, and one that needs to be touched with great tenderness. I feel somewhat emboldened, however, by the fact, that I have conversed with many of the singers on this subject, and have reason to believe that their feelings generally harmonize with my own. I have noticed a distinction which the Bible makes between what is religious and what is secular, as suited to the Sabbath. Now sing ing, like many other employments, may be either sacred or secular. It depends on the object. If it be for devotion,-if it be designed as a part of worship, either social or public, it is a sacred employment, and falls in perfectly with the design of the Sabbath. But if it be for the purpose of improvement in the art of singing, it is secular, and not suited to the Sabbath. It may be said, that learning to sing is subserving the cause of religion. So is building a meeting-house, and printing Bibles and tracts. But these things may not be done on the Sabbath. Preaching is a sacred business; but learning to preach is quite another thing. Does a theological professor call his students together on the Sabbath, and lecture in regard to the principles of theology and the rules of sermonizing? Such a thing would not be tolerated in a Christian community. No more can I think it allowable for singers to meet on the Sabbath, merely for improvement in their art. The two cases, to my mind, are exactly similar. I have thought much of this subject, and do not come here with an opinion hastily formed. At the last meeting of association, I wished to obtain the minds of my brethren, and brought forward the subject for discussion. There were present some fifteen or sixteen ministers, and I was surprised to learn that nearly all, except myself, were or had been in deep trouble in regard to this very thing. One in particular said, that when he commenced his ministry, his singers frequently met on the Sabbath; but he thought that other evils, more threatening, required his attention, and he left this to take its course; and it grew, and has now become a sin of huge dimensions, and is altogether unmanageable. Concerts and oratorios, he says, are now a common thing in his parish, and even he and his family have frequent invitations to attend. He warned his younger brethren to foresee this evil, and prevent it, if they would not at his age be bound fast, as in the green withs of a giant sin. The association were agreed with singular unanimity, that meeting on the Sabbath, for the purpose of learning to sing, or for improvement in the art of singing, was a secular employment, and was a violation of the fourth commandment; and a vote to this effect was passed. And all, I believe, were resolved to use their utmost endeavors to cure the evil where it existed, and prevent it were it did not. [We invite attention to the following article, because we think the writer states many things which are true, and that the subject is worthy of investigation. ED.] LEIGH RICHMOND'S OPINION OF MUSICAL CONCERTS. "I can truly, deliberately, and conscientiously say, that I consider the ordinary musical festivals, conducted as they are amid a strange medley of wanton confusion and most impure mixture, as highly delusive, fascinating and dangerous to youth. I consider the oratorio performances in churches as a solemn mockery of God, and forbidden by the clear principles of the gospel, The making of the most sacred and solemn subjects which Heaven ever revealed to man, even the passion of Christ himself on the cross, a matter for the gay, critical, undevout recreation of individuals, who avowedly assemble for any other purpose but that of worship; and who, if they did, could hardly pretend that it were very practicable in such company and on such an occasion, I do from my heart believe to be highly offensive to God. Playhouse actors and singers, (frequently persons of exceptionable character,) are hired, supported and almost idol. ized in these exhibitions, and encouraged to persevere in their immoral and dangerous profession. Vice rides triumphantly in such proceedings. The spirit of the world, the |