sufficient to make accomplished readers and speakers? That it disproves the utility of science? We answer, that we require no stronger evidence to prove the advantages of the science of Elocution, than that which these natural readers exhibit. What is the object of this science? To form a correct ear,-to render it capable of distinguishing the most pleasing impressions of sound,-of selecting them from discordant intonations on the theatre of human existence,-to mould, purify, and adapt them to the purposes of vocal harmony in speech, to render the organs obedient to the command of the will and the regulation of the

ear.

These are the objects of the Elocutionist; and the result of his labors corresponds with the intonations of the naturally accomplished speakers, above alluded to. What does this fact prove? That Science analyzes Nature, and produces before the view of her votaries, the elements of which she is composed. These natural readers are scientific by nature: She has given them an instinctive knowledge which others must acquire, and will acquire if they are obedient to that power which holds within its grasp the torch of philosophy, to guide them through the secret labyrinths of nature.

We have frequently heard teachers of reading desire their pupils to enter into the feeling and spirit of what they read, as a guide to a correct delivery. Such instruction might, perhaps, do better than none, and in some instances might serve the purpose for which it was given. But how will it apply to the higher species of composition, to Milton's 'Satan,' for instance? It would be no pleasing circumstance to be identified in feeling and spirit, with his Satanic Majesty, and should we be so unfortunate as to accomplish this object, we know not what intonation could be, appropriately, given to the grim apostate.

The rules for reading and speaking must grow out of the analysis of intonation, without reference to such futile directions as those above adverted to. The elements must be first acquired, and their combination left to the taste of the pupil. The imitative practice has been tried long enough. It has pervaded generations, on the stage, in the pulpit, -at the bar, in the senate,-in public meetings and in private life. We have seen the miserable copyists of some fashionable, misnamed elocutionist, destroying the beauties of English speech, and receiving applause for the absence of every thing worthy of recollection, save the exact imitation of a defective model. The fine arts are essentially arts:-the high execution of them can alone arise from the Baconian system of inductive philosophy,—from careful observation,-extensive comparison, and the most accurate selection of the various constituents which enter into their composition. Elocution is one of them, and so far advanced, in utility, above the rest, as it is the social bond by which human society is held together,-by which the distant nations of the earth are united and brought to worship around one common altar, whose high priest and patriarch is God..

Three points of essential importance to a speaker, are activity of mind, acuteness of ear, and industry. If his mind be of that passive order which is satisfied with negative excellence, if his temperament be of that phlegmatic character which denominates energy,

violence, and the vivid pictures in which the voice may clothe the magic of poetry, pomposity, if his energies are bounded by the confined limits of his own narrow and selfish schemes,-if money and not wisdom is the object of his worship-the goal of his avarice and ambition,-if he has yet to hear and never to learn, that the great accomplishments in art and science, have not been more indebted to untiring industry than to the efforts of passion,

if such be the constitution of his mind, he may probably become the leader in the circumscribed circle of his own associates, but will never reach the higher aims of Elocution. Feeling is certainly a requisite: We would distinguish, however, between its strong and and delicate conditions. It is unfortunate that, while the man of strong feeling and great selfesteem, figures on the stage as the Herod or Buffoon of his day,—the man of delicate mental organization, with capabilities to measure all the nice distinctions of intonation,-to select, arrange and combine them for the most exalted purposes of Elocution,-retires from the busy haunts of man, to bury, in the walks of retirement, powers which might have created a well deserved fame for their possessor and enriched the intellectual temple of modern eloquence.

The power to measure the time and other elements of intonation, known by the term musical ear, seems essential to the finished Elocutionist. There are few ears, however, so obtuse as to be insensible to cultivation. We recollect our friend, professor Ives, the celebrated musical teacher in Philadelphia, stating to us, some years since, that he never inquired whether his pupils had musical ears; if they have not, said he, I make them. We believe in the truth of this philosophy, and that all we hear about defective organization in this particular, is either a cloak for idleness, on the one hand, or proceeds from defective instruction, on the other. Call the organ into action, rivet its powers, and you will create the highest condition of its function. What renders the eye of the Indian susceptible of discerning, in the turn of a leaf, the path which his enemies have taken? Exercising its vision. Let the ear be subject to a corresponding tuition, and we apprehend there would be few, unmusical.

Industry is the third grand requisite of the Elocutionist. In vain will the intellect furnish its images of beauty, or the ear be ready to act as the directer and controller of the vocal intonations, if the tongue refuses to give utterance to the conceptions thus furnished for its employment. We would advise him who expects to become an elocutionist without labor,

without a frequent and powerful exercise of the tongue, to abandon, at once, a task for which nature has not, physically, formed him, ere chagrin and disappointment mingle their waters in the cup of negligence and error. But to the pupil of Industry, whether male or female, Elocution holds out a certain,-a sure reward..

B.

THE INFLUENCE OF A MUSICAL EDUCATION. NO. IV.

MR. EDITOR,-The next subject before us for consideration is, the influence of a musical education upon SOCIAL CIRCLES. The reader is probably aware, that there are various kinds of

social circles. The first I shall notice, is a social circle of visiters,—as being peculiarly adapted to the habits of the gentler sex. The sphere designed for their action, affords them the opportunity of manifesting a greater degree of sociability in the circle of visiters, than is afforded to the other sex in theirs. The question to be decided is, how can a musical education affect this species of circles? I will ask two or three questions, which will enable the reader to decide for himself. Before introducing them, however, I wish the reader to let his mind go back and fix itself upon the children of some particular neighborhood, and follow them step by step in their acquisition of a musical education: First, to the infant school, where their little voices are first raised in singing such hymns as I quoted in my second essay, where their juvenile hearts are first brought into contact with the sentiments of truth and love, and brought to bear most powerfully upon their feelings through the medium of the innocent songs prepared expressly for the purpose. Follow them from one degree of attainment to another, till their education is completed. See the growing loveliness of their tempers and dispositions,-the gentleness of spirit manifested one toward another. Keep your eye upon them after their introduction into society. Suppose them invited by one of the number to spend the afternoon at her house. Follow them. there. Here you see them in the social circle. I am now ready to ask my questions, which, I trust, will enable the reader to make the decision,-how a musical education can affect the social circle of visiters. And first,-In view of the manner in which these young misses have been educated, what would they be most likely to converse about? Second,-Would they be apt to spend the time in evil speaking, or light and trifling conversation? Third,- Would they seek to hold up every little fault which they had happened to discover in particular individuals, to the ridicule of the com-.pany? I pause for the answer.

I shall now ask but two more questions: And first,-What does the reader suppose would be the expression of their hearts one to another?: Second,-If their hearts have been moulded under the combined energies of a musical education and the sweet and melting influence of parental tears and prayers, accompanied with proper instruction, is it not reasonable to suppose, that the same loveliness of character, which has ever manifested itself in their own domestic circle, will follow them wherever they go? Much more could be said on this part of my subject, but time and space will not permit.

The next species of social circles which I shall notice, is a social circle for prayer. It is truly lamentable, to witness the apparent heartlessness that generally prevails among a whole company of Christians, met together for social prayer, as the hymns of praise burst from their lips. 'While we sing the praises of our God,' says Dr. WATtts, we are employed in that part of worship, which, of all others, is the nearest akin to heaven, and it is a pity that this, of all others, should be performed the worst upon earth. To see the dull indifference, the negligent and thoughtless air, that sits upon the face of a whole assembly, while the psalm is upon their lips, might tempt even a charita

ble observer to suspect the fervency of inward religion; and it is much to be feared, that the minds of most of the worshippers are absent or unconcerned.' After alluding to the present modes of preaching and prayer, he continues,— 'But of all our religious solemnities, psalmody is the most unhappily managed; that very action which should elevate us to the most delighful and divine sensations, doth not only flatten our devotion, but too often awakens our regret, and touches all the springs of uneasiness within us.' Thus says the pious Dr. Watts; and who can gainsay it? There is not a minister or layman in the land, that does not know and feel this to be true. And what is the cause of this state of things? The reason is plain: And if Dr. W. had discovered it and made it known, we believe that his influence would have induced the churches to adopt more efficient measures to remove the difficulties which now exist, and must forever exist, until they can be made to see and feel what these difficulties are. If the parents of this generation had neglected to teach their children to read, of course they would not expect to hear them read in the Bible, or any other book. They would not expect them to know many of the hymns and psalms commonly used in the sanctuary, and even the few that would be committed would contain many errors, which it is natural for persons to fall into, who are in the habit of learning things by rote. It is plain to perceive what the effect of such a neglect would be, not only upon the community, but upon the church of GOD. The very idea of learning all the hymns and psalms by rote so as to be able to sing with correctness, is absurd. So in singing. Oh! that I could make my voice reach to every church in the land,-I would tell them just what Dr. Watts should have told them in his concluding remarks on the subject of psalmody. He saw what the disease was, but did not discover the remedy, or if he did, he did not make it known. A person who neglects to qualify himself properly for this important part of worship, cannot be expected to join in it to his own or others' edification.

Let the children of this generation receive a musical education, and meetings for social prayer, as well as all other social circles would assume not only a very different but a far more lovely character; indeed, the whole aspect of society would be changed.

Thus we see what would be the influence of a musical education upon society in general,one of the avowed objects which I intended to show in these essays, when they were commenced.

AMICUS.

CHURCH MUSIC IN THE COUNTRY: ITS DIFFICULTIES AND DEFECTS.

NO. III.

THUS much for the evils of a bad taste existing in the performers of Sacred Music. The auditors now merit a share of our attention; and, when we reflect that the province of a singer is generally understood to be to please the hearer, we shall have some idea of a frequent origin of poor performances.

Few societies are found where some individual is not met with, who, setting himself up for an amateur in music, dictates the taste of his neighbors, and consequently gives a peculiar character to the singing. Often they are

found to cling like antiquaries, to the old style of music, and look with horror upon any thing that has the appearance of innovation. The 'good old tunes' 'the good old fashions,' and 'the good old hymns,' must be used; and he who doubts this fact is worthy of being burnt as a heretic.

One prefers on all occasions a mournful, plaintive style of music, and another must have it always bold, energetic, and animating.

There are others so puritanical as to be shocked with the exhibition of a musical instrument in the orchestra. The pealing organ, the viol, the flute, and even the old fashioned pitch-pipe, all fall under the sweeping anathema. Would you make the house of GoD a place of mirth and revelry!' they ask,-forgetting that in olden time, when the Almighty deigned to hold converse with his fallen subjects, the sanctuary echoed with his praise, not only from living tongues, but from harps and timbrels, and every thing that could make glad the soul, and warm the heart with devotion.

Occasionally a congregation is met with, where a Clerk is appointed to take the lead, and the whole assembly unite in the exercise. This, however, is gradually passing out of date among the better informed, although not long since I was a witness of the same plan in the Rev. Dr. Ely's Church, Philadelphia.

A more impertinent, and not less injurious practice, when there is a regularly constituted choir, is the promiscuous, straggling music which is sometimes heard around the room, destroying all harmony, melody, and expression. It is to be regretted that custom and propriety should not effectually put down this irregular, gratuitous singing, and make it as distinctly the business, where there is a choir, for the choir alone to sing, as for the pastor alone to preach. Often a choir is silenced by this interruption or compelled to struggle to be heard in the general clamor, and in such a contest the advantage is all on the side of the irregulars, who, wanting in taste and modesty, are not easily baffled by any thing that befals the harmony, and seldom find ears for any music but their own. Attempt to reason with these ir regulars and you are met with the knock-down argument, that every one has a right to sing in a land of freedom! And so has every one a right to commit a thousand other improprieties, if the good community will but tolerate them.

PAID CHOIRS.

E. E.

[IT will be recollected, that in a former number, we ac knowledged the receipt of a 'Private Communication' from an esteemed friend, which related to hired singers, choirs, &c., and that we also asked permission of the author to publish it in the Minstrel, with the view of inducing a profitable investigation. In complying with this request, our correspondent "N." says: "The communication, being written in great haste, and without the slightest idea of publication, I fear must be too crude and imperfect to lay before your readers. But as its pretensions to literary interest ought of course to be secondary to the cause of truth, you are perfectly at liberty to make whatever use of it, you may conceive best calculated to elicit important observations, or subserve the cause of truth and religion." With this permission, we give below all the important portions of the communication, and invite attention to its contents. Our columns are open to articles on the subject. ED.]

MR. EDITOR,-Although as yet without the pleasure of being personally known to you, I am induced, by the solicitude I feel for the success of the Minstrel, to address you in a PRIVATE

COMMUNICATION. The truth is, I feel it a duty to put you in possession of my views on the subject I design to allude to, (as unquestionably you will desire to know the pulse of the community,) and leave you to make up your opinion, after having patiently and dispassionately heard both sides.

In your 11th No. page 85, under the head of Sunday Schools," a correspondent speaks of "that corrupt and profane system, by which a choir of singers are actually hired and paid for praising GoD," &c.; and this sentiment (no doubt introduced with the very best motives) is what I feel anxious to draw your attention to. I acknowledge I am not without some experience on the subject, as it may be termed, in a professional point of view; but not having held any church or choir appointment for some years, it may be supposed that I am as unprejudiced by self-interest, at least as can be expected.

In the same article, the conduct of "San F. Neri" is given as an example to those who would allure crowds to the chapels by the exalted and impressive character of the sacred music designed to be introduced and yet I very much question that the choirs of San Filippo Neri and his coadjutors were precisely similar to what those in the U. States would be, even provided every one who was corrupt and profane enough to receive a salary, were banished from the sanctuary. On this branch of the subject, indeed, I might observe, that we do not find that the Levitical priesthood any more than the singers, were to officiate gratuitously; and yet it appears to me if it be sinful to pay one man, who has made music the study of his life, for giving the result of his labor to the music of the church, it is equally sinful to-I might say (I trust with reverence)pay another for praying to, &c., which we do to those who have made theology the study of their life. But your correspondent will, perhaps, say, that we must improve our amateur singing. Very well;-but this, under the most favorable circumstances, requires time; and without professional aid-I was almost going to say—it would require eternity. That public opinion should exclude all persons,-first, those who are connected with theatres, &c., &c., and second, all persons of a dissipated character or in any way of an exceptionable walk in life and conversation, -the great majority of the congregations, I trust, would consider most desirable; but that an organist, and at least three or four accomplished and steady vocalists should receive compensation in the line of their profession, I can by no means denounce as sinful or even exceptionable.

I know it is said,-"Oh! but Mrs. has played the organ as a compliment; and, you know, you would go to church at any rate, and it is only singing while you are there." But this argument proceeds from ignorance. For instance, it is agreeable to me to sing, (ad libitum,) in my pew; but the moment I should appear in the organ gallery, I become responsible for the character of the music. I then must sing, however my voice may be fatigued by teaching all the week; and with, perhaps, a few half-taught Misses, and a few Clerks, who were at a party on the evening appointed for practice, but who swagger in, pull up their cravats, whisper to the girls, and think

they are condescending to do you a favor by marring the music and rendering the words unintelligible,-the anxiety becomes extreme, and the injury done to your school and your reputation as a teacher and musician, is often greater than even a compensation will compensate for, but without some remuneration, is what no musical man in his senses, (that is, unless he is il fanatico) would think of. Mrs. A. or B., (perhaps the minister's wife,) risks nothing by assisting in the worst music; and in a few months she tires and retires, wonderfully pleased with her generosity,-and the clerks, by the time they know how to keep time "and go together," move to the west, or have to take stock and retire also; but if you desire to have permanent good music generally in the churches, you will find it impossible to do without some assistance from those that are competent and willing to take the responsibility. Much more might be said, but now I must conclude; once more assuring you that my opinion is unprejudiced by the account of any emolument, and also that what I have said is, I consider, for the good of music.

N.

AZILE.

NEW YORK, DECEMBER 15, 1835.

The 23d and 24th numbers of the Minstrel, (the last of the present volume,) will be published together,-in about two weeks.

Agents and subscribers (who may be in arrears,) are hereby reminded of their obligations to us. It is absolutely necessary that we should immediately have a settlement with all of them.

It will be recollected, that, agreeably to our terms, $3 will be expected of all who have not hitherto paid for the work.

TO CORRESPONDENTS.

Many thanks are due "R. L. C." of Virginia, for his valu. able essays, "on the causes of musical declension in our churches." This subject, so important to the best interests of Christ's kingdom, has already received considerable attention in our work, and we shall always take pleasure in giving circulation to any articles of a similar character. "R. L. C'.s" essays are filed for the second volume of the Minstrel, when they will be published regularly, so long as the writer conceives it proper to benefit the Christian com. munity, by the labors of his pen.

Besides several "sparkling gems," from various writers, our second volume will be enriched by the beautiful melodies of "S. C.," recently sent us from the "far West." And we also indulge the hope, that we shall be enabled to lay before our readers many valuable contributions on musical subjects, from the same gifted writer.

We have received from Pennsylvania, several original Hymn Tunes, arranged generally for three voices, with original words adapted to them by the same author. Most of the Music is of a plaintive character,-partaking very strongly of the style of Billings, Swan, and others of their day. Of his poetry we would say, that it does him more credit than his music; and still some of this is respectable. We shall endeavor to find room for some of the pieces, in our aubsequent numbers.

We acknowledge the receipt of a beautiful piece of Music, entitled "He left his radiant throne on high." We like it wruch, and it shall make its appearance in the Minstrel, at an early day. Any contribution from "D. C." will, we

doubt not, prove highly acceptable to our readers-whether "Original Anthems," or shorter pieces.

The communication of "E." on the power of the Press," as connected with periodicals, is now before us. We have concluded to insert it in the first number of the second volume.

The admirably fine "Sketch" from Tennessee, mentioned in a former number, is marked for No. 1, Vol. 2.

The remarks of "An Observer," "The Spy," and "Justice," relating to the N. Y. Academy of Sacred Music, may be correct enough; but we think the cause of Sacred Music would not be promoted by inserting them in our columns, at the present time.

ERRATA.

The reader is requested to make the following corrections with a pen or pencil, in the Anthem "By the Rivers of Babylon," " which appeared in our 20th number, viz: Page 153, staff 4, last bar, (or measure,) a natural () should be placed before the note on A. The same correction should also be made in the last bar of the accompaniment, (staff 6.)

Page 156, staff 14, bar 3, the notes on F, with a sharp (#)

before them, should read F natural.

Page 157, staves 11 and 14, bar 3, a natural should be placed before each note on C; and also a natural before the note on F, in the last bar.

Page 158, staves 2, 5, and 6, a natural should be placed before all the notes on G.

Same page, staves 4 and 7, bar 1, a natural should be placed before the notes on C.

Same page, the words "If I forget not," between the 8th and 9th staves, should read “If I prefer not.” Same page, staves 12 and 13, bars 2 and 3, a natural should be placed before the notes on G.

Page 159, staff 11, last bar, the following notes for the Second Violin, should be added, thus:

REMARKS.-We presume, that the author is not more mortified at the occurrence of these errors in his Anthem, than we are at having our pages disfigured by them. It is our uniform practice, before we admit a new piece of Music into our work, to examine it, and re-examine it critically, and then if we have any doubts concerning its correctness, &c., we consult those who are abundantly competent to "unriddle the whole mystery." But in the present instance, we did not take these precautionary steps,-because we supposed, from the well known reputation of the author, and by the representations of the gentleman who handed us the MS., that three of the first professors in Boston, had examined it, and pronounced it "good," and correctly harmonized. We assure the respected author, that the proof sheets of the whole Anthem, were deposited in our Post. office, for him; but, it is probable he never received all of them; or, if he did, they were never returned to us. So the blame must rest on the late "Great Fire" in this city, by which our Post-office was thrown into utter confusion for a few days.

NATIONAL AIRS.

There is much meaning in the motto of the Minstrel. It is allied to some of the noblest principles of civilized man. The equal freedom and the equal rights of all respond to its utterance. Who has not felt his heart bound at the call of Bruce to his countrymen in arms? Who has not started up with still prouder exultation as the notes of "Hail Columbia" have been rung in the chambers of his soul?

Such martial allusions, (although we do not wish to be considered as justifiers of war,) have ever produced more effect than the most labored appeals. Men obey the laws from a sense of duty, or from a fear of their penalties. They obey the impulses of patriotism, set on the flood by the patriotic strains of poesy, from a sense of feeling paramount to duty while entwined with it. It is their pleasure-their willto rise up at the trumpet-call of song, and to

buckle on the armor of an invincible spirit, when the routine of duty will admit of procrastination. Here, then, is a chord in the human heart which may be made to vibrate in the spiritual warfare of the Lord of Hosts. It is a chord which may be struck with peculiar effect in the United States. Our habits and customs as a people, naturally beget that love of excitement of which music is one of the main springs. Let that spring put the right influences in motion, and the result must be such as every good man will delight to wit

ness.

NATIONAL CHURCH HARMONY, designed for public and private devotion, in two parts. Music arranged for the Organ and Piano-forte, by introducing small notes. Edited by N. D. GOULD. Fourth edition, with a Supplement. Boston: Lincoln, Edmands & Co. 1835. From having been mislaid, and consequently forgotten, this work has been many weeks in our possession, though but just come under our view. It consists of about 350 pages, beautifully printed, the first twenty being devoted to "Introductory Rules," "Practical Observations," &c., by the able and experienced editor of the work. Had we room in the present number, we would gladly insert some of his valuable observations for the benefit of vocalists generally, perhaps we may fulfil our design at a future day. The Music in this collection has been selected and arranged with the view of accommodating all parties,-the old tunes are published in the form most familiar to the public, and the new ones (of which there are a large number) appear in the dress most approved of at the present day. Many pages are occupied by choice and useful Anthems, Set Pieces, &c., suitable for a variety of occasions. We have extracted one of them ("The Battle is the Lord's,) for the present number of the Minstrel. It cannot fail to please, when well performed. This is one only of a like excellent character, which may be found in the "National Church Harmony." We believe, that the work can be procured of our publishers, Messrs. Van Nostrand and Dwight, 146, Nassau-street.

We understand that Mr. GoULD has lately removed to Brooklyn, N. Y. where he intends to follow his profession.-that of a teacher of Music. Success attend his labors.

A Vermont correspondent asks the question, -"Will some one, through the Minstrel, give us a review of Mr. Molt's New and Original Method for the Piano-forte' ?" We hope so.

Correspondence.

Extract from a letter of a gentleman residing in Oneida County, New York.

Sir, I have taken much satisfaction in reading the numbers of the Minstrel which have come to hand, and could I, by any influence which I might exert upon the public mind in this region, assist you in the circulation of the work, I shall do so with pleasure. I shall feel safe in such an undertaking,-for the work is of a character suited to the wants of this unenlightened community, (I mean upon the subject of Music.) It places the science of Music on an equality, at least, with the most valued sciences. The objects which the Minstrel proposes, are of a high and important character; they are such as can but meet with the approbation of all intelligent minds. Every Christian who values Music at all, will at once acknowledge the import ance of executing Music properly, and in order to do this, there must be musical intelligence, and in what way can it be gained better and cheaper than by taking the "Family Minstrel I know of none. C. F.