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. VIL

WE present, in this paper, a few further examples of the grouping or bringing together, vocally, related words, separated by intervening clauses. In the second book of Paradise Lost, we meet with the following passage, in the contest between Satan and Death:

"Art thou that traitor angel? art thou he,

Who first broke peace in heaven, and faith, till then
Unbroken ?"

In this passage, as in many others among the older and better poets, we meet with an inversion in style, not warranted by the critical rules of grammatical construction; the nouns "peace" and "faith," the objectives of the verb "broke," are separated from each other by the clause "in heaven." To restore the connexion thus dissevered, to the ear, it is necessary to make a slight pause after the clause "in heaven," and one longer in its duration, after the noun "faith," using the falling ditone after the latter, to overcome the disconnecting influence of the pause; by such means, the

noun

and a slight pause,-a rapid flight of the voice over the clause terminating at rung,—a slight | pause succeeding that verb and a reiteration of the same vocal stress on "Hunter's call," to that applied to "inspiring air." By this means the dissevered syntax is completely and beautifully restored. A more striking example of the use of the "Emphatic Tie," occurs in the fifth book of the same poem, directly succeeding Satan's address to the Sun:

"Thus while he spake, each passion, dimm'd his face Thrice changed with pale, Ire, Envy and Despair; Which marr'd his borrow'd visage, and betray'd Him counterfeit, if any eye beheld," &c. Such an involution of style as here occurs, is scarcely allowable, even in Milton. "Pale" appears, to most readers, as an adjective relating to Ire, Envy and Despair, which latter would seem, on the same principle of syntax, to be governed by the preposition "with." Such is not the construction. "Pale" is a noun governed by "with:” Ire, Envy and Despair are in apposition with "passion," connected with the distributive pronoun "each," and nominadimmed." The true syntax tive to the verb would be,

"Each passion, Ire, Envy and Despair

Dimm'd his face thrice changed with paleness." To render the construction at all clear to the hearer, it will be requisite to use the "Emphatic Tie," marking passion, Ire, Envy and Despair with an identical vocal stress, and passing the voice on a low and quick intonation over the clause terminating at dimmed:" after all the efforts which can be used, the task is one of no common order.

"faith" is thrown back by the pause, into its appropriate station, shown, vocally, to be equally with "peace," the object of its governing verb, while the rising ditone connects it with the expletive, which follows,-" till then unbroken." The final method, to which we shall call the attention of our readers, to be pursued in restoring Syntax by an act of the voice, we shall term the Emphatic Tie." We now take leave of the diatonic scale and In addition to the means already pointed out, a its simple, unobtrusive melody, for the more corresponding percussion or extension of voice, lengthened upward and downward vocal conis produced on the related words. Should the crete intonations, which are indicative of feelsubject be solemn or impressive in its charac-ing or passion: for an examination of them, ter, the latter-if otherwise, the former. The

accompanying passage from "Collin's Ode,"

will explain this mode of union:

"When Cheerfulness, a nymph of healthiest hue, Her bow across her shoulder flung, Her buskins gemmed with morning dew, Blew an inspiring air, that dale and thicket rung, The Hunter's call, to Faun and Dryad known." The grammatical sense of this passage does not at first sight appear; we are at loss to determine whether the verb "rung" is an active verb, governing "Hunter's call," or whether

it be passive in its character, and "Hunter's call” placed in apposition with " inspiring air.” A further inspection can leave but little doubt of the syntax. Inspiring air" and "Hunter's call" are evidently the same thing in different language, and both objectives of the verb "Blew." The syntax ascertained, it now remains to show a method of union by which no doubt shall be left on the mind of the hearer as to the true grammar: this purpose is accomplished by a marked stress of voice on "inspiring air," accompanied by the rising ditone

we refer the readers of the MINSTREL to our

first paper on the Philosophy of the Voice: they

will be found on the right and left of the Diatonic Scale. We shall first notice the rising concrete intervals denoting interrogation mingled with any condition of feeling to which it is not directly opposed. The octave first presents itself to our attention. From the length of time requisite to give utterance to this lengthened vocal movement, short words would seem to be excluded from that powerful interrogative expression which it denotes: (short words do, however, preponderate in our

most intense inquiries :) we, therefore, in the following diagram, show how the effect of the more lengthened rising intervals is produced

upon them:

[PAYABLE IN ADVANCE.

NO. 15.

In the above diagram, we suppose the voice, having risen through the higher lengthened intervals, on the words of the sentence admitting of quantity,-to play in the diatonic melody on a pitch corresponding to the previous ascension, on the lengthened syllables,--again to descend, by radical or discrete pitch, to pass through a second lengthened interval, on a word admitting extension of voice, and again to play, in the diatonic progression, on the concluding short words, on a pitch corresponding to the vanish of the lengthened Octaves. Such is the mode by which immutable syllables are rendered interrogative. We shall subsequently enlarge on this portion of our subject. As the higher intervals are at one time used for interrogation and at another as a form of emphasis, we shall now give the movement of the voice under the latter application of them:

Upon comparing the two diagrams, it will be observed, that in the former the interrogative character is maintained, by a play of the voice, in the diatonic melody, on a pitch corresponding with the vanish of the higher lengthened interval: in the latter, it moves along in the diatonic melody, until the emphatic word occurs where the interval is thrown over that word, and the voice again falls from the vanish of the octave, to the current line of melody in which it had been playing previously to its ascent. These remarks apply to the rising octaves, fifths and thirds. It rarely happens that more than one, or, at most, two words in a sentence, are emphatic; but how numerous so ever they may be, the

voice moves in the same manner over each,

and descends to its diatonic progression.

Emphases are nothing more or less than wide contrasts in sound: if, as in the interrogative diagram, the voice were always playing in the higher intervals, there would be no contrast and consequently no emphases, but by falling eight, five or three notes from the height of a previous ascent, the impression of the latter is left fixed upon the ear, and produces, what are termed Emphases.

We would advise the reader, at this point of our inquiry, to retrace his steps and sound the

rising concretes, measuring them by a previous ascent through the corresponding notes of the diatonic scale: he will by such means, become practically acquainted with the varied effect in each interval. The rising concrete octave is rarely used it belongs to intense interrogatives in dramatic reading,-or to that too anxious spirit of inquiry in actual life, which seeks to pry into the business of others when it

:

should be attending to its own. The fifth is frequently used as a mode of inquiry, and for emphases, it is less intense in its intonation than the octave: while the third is applicable alone to that mild species of inquiry which is common in the social intercourse of men,— mild, open and generous in its purposes and objects. B.

THE INFLUENCE OF A MUSICAL EDUCATION.
NO. I.

MR. EDITOR,-I am of the opinion, that the great utility of making Vocal Music a Branch of Education in Common Schools and Seminaries, is no longer a matter of doubt, but very generally admitted. Especially am I led to this conclusion by the fact, that many institutions of this kind, in different parts of our country, have already embarked in this cause, with a zeal highly commendable. It is with much heartfelt pleasure, that I hail such facts as these; and I view them, as clearly demonstrative, that our cause is in the onward march. I propose, in a few brief essays, to discuss the following subjects:-The Influence of a Musical Education upon the Family, individually and collectively; family government; social circles of different kinds; society in general; and the Church of God.

The subject of the present essay will be, the influence of a musical education upon the family, individually.

In looking at this subject, we will first consider the influence of sacred music upon the heart. It is the uniform testimony of those acquainted with the influence of music, that whatever may be its character, in a secular or sacred point of view, it will always excite vivid emotions of some kind. It almost invariably accomplishes the end for which it was designed. It has been my privilege, not only to feel its influences upon my own heart, but to witness its effects upon the hearts of others. I know that, by the power of sacred music, not only pleasant emotions, but emotions of the deepest and tenderest character, are very often excited. I have witnessed many very striking instances of its influence upon the hearts of children. I will here mention one in particular. It is concerning a child, who was very dear to my heart, and who I have reason to believe, is now singing a more delightful song than our imaginations can here conceive of. Although she was but ten years old, when her immortal spirit winged its way from earthly scenes, yet I indulge the fond hope, that infinitely brighter scenes have burst upon her view, at the right hand of GOD. I indulge these hopes from the fact, that she gave many pleasing evidences of her attachment to the Saviour. One of the most prominent was, that she was always very sensibly affected by sacred music. I never heard her sing in my life, that I recollect, when she did not appear deeply to feel the sentiments she sung. The morning before she died, she rose before any one else in the house, and awakened her father, who slept in the adjoining room, by singing the hymn generally known as The Last Resolve :"

"

"Come, trembling sinner, in whose breast A thousand thoughts revolve." While she was singing this, I entered the room, and found her cheeks bathed in tears.

Many other instances of a similar character might be cited, to show the influence of sacred music upon the heart; but the one alluded to I consider as conclusive evidence.

If sacred music has such a benign influence upon the heart, it follows, as a matter of course, that the heart, subject to its power, will not only be far more susceptible of tender emotions, but that the gospel, and in fact all parental instructions, will act upon the affections with much less opposition, than upon the heart that is a stranger to its influence.

It may be said, that such cases as the one just mentioned, rarely occur, excepting in families where sacred music has been cultivated. This is very true. And I therefore urge this fact, as a strong argument in favor of making sacred music a branch of education. If its influence is so benign, if it has the power of bringing every evil passion into subjection, and thus open a door not only for parental but divine instructions; if it is so eminently calculated to refine and cultivate the affections, I ask, Is it not worthy the attention of every parent in the land? Let parents take hold of this matter. Let them see to it, that their children are as well educated to sing the praises of their Redeemer, as they are to read in the New Testament; and I will engage, that there will be more affection exhibited toward one another among children, more love to parents, and more love to Jesus Christ. It cannot be otherwise, in the nature of things, if what I have said is true, respecting the effect of sacred music upon the heart. I leave this matter for the serious consideration of all, who desire to see cultivated among their offspring a tender, forgiving spirit. AMICUS.

SELECTIONS.

THE INFLUENCE OF RELIGIOUS BELIEF
UPON THE EMOTIONS OF TASTE.

BY E. P. DYER, OF NORTH BRIDGEWATER, MASS. THE moral renovation of the world is the ultimate object of Christianity. It aims to expand and elevate the benevolent affections, to refine the moral sensibilities, and to gain over every thought of the heart an unlimited control. Emanating from the exalted purity of uncreated excellence, it goes forth to stamp upon every social and moral faculty of man, the impress of its divine original.

If such be the object of Christianity, we cannot observe the influence of moral upon intellectual cultivation, without a conviction that Christianity is likewise destined to exert an important influence upon the character of

Taste.

That faculty of the mind by which we derive pleasure or pain, from the beauties or deformities, whether material or immaterial, of nature or of art, has commonly been denomi

nated Taste.

True Taste has its foundation in that sensibility which springs from virtue. Hence as Christianity designs to make men virtuous, it must at the same time give delicacy and correctness to this most interesting faculty,

When Greece and Rome paid homage at the shrine of Jupiter, the most debasing sensuality prevailed among their citizens. The midnight revel was sanctioned by the orgies of Bacchus, while a god presided over theft, and

a goddess over licentiousness. Vice stalked abroad by day, assuming every variety of monster forms, unmasked and unmolested. While such gross darkness covered the people, individual and public taste became vitiated, and the idea of beauty, was associated with whatever in nature or art served most to administer gratification to their depraved appetites. Hence their productions of the chisel and the pencil, too frequently furnished stimulants to unhallowed passion, and give additional seductiveness to the allurements of vice.

That the Fine Arts, in Greece and Rome, attained to a degree of perfection, never since surpassed, may freely be admitted. But let us not forget that the genius of antiquity, accomplished its triumphs, in despite of the debasing effects of that very sensuality, which it immortalized, and of that degrading mythology, which it vainly attempted to embellish and sustain. If then while their religious systems conspired to draw their spirits earthward, their genius often rose superior to its influence,

"And shot a day-spring into distant climes," what might it not have achieved, had it been ennobled by the glorious conceptions of a spiritual religion?

When we peruse the writings of Homer, or of Virgil, and consider merely their intellectual effect, we are captivated, as by some magic enchantment; but when we look at their moral character, we must invariably turn from them in disgust and we cannot forbear an exclamation of regret, that, while they are capable of administering so great delight to the Taste, they inflict such unmitigated pain upon the moral sensibilities.

Though such was the character of Taste under the influence of idolatry, we rejoice that we may hope for better things under the influence of Christianity. Already has its influence in reforming the taste begun to be visible. In the divine paintings of West, the sublime choruses of Handel, and the hitherto unrivalled strains of the immortal Milton, we have enjoyed a foretaste of that which is to be. And it is but a foretaste; for in all this, we are to consider the work of purification as but just commenced.

We survey the past, and we find but here and there a radiant spot to cheer the eye. Our imagination delights to look forward, and to contemplate the character which Taste will have acquired, when Christianity shall have accomplished its grand and ultimate design.

The Bible embodies incomparably the finest specimens of genuine poetry; all that is touching in eloquence, sublime in sentiment, or lofty in thought. When its authority is therefore acknowledged in every clime, we assuredly believe that while it prepares the hearts of men to relish moral beauty, it will also exert a powerful agency in correcting and refining the Taste. In that glorious age, the effusions of those poets, who have made themselves the ministers of licentiousness, will be neglected, and, perchance their very names forgotten. While those illustrious bards, who have been "Baptized

In the pure fountain of eternal love," leaving those themes, images, and associations, which degrade the poetry of other times, shall apply their powers to the noblest of purposes, the worship of HIM " who filleth all in all."