TWO DOLLARS A YEAR,]

VOL. I.

ORIGINAL COMMUNICATIONS.

LINES.

BY A. CLEVELAND COX.
LIVES there a man who sheds no tear,
To think that all is mortal here,-
Who sees the flower that dies at noon,
And weeps not that it fades so soon,-
Who views the leaves so sere and strown,
When Autumn's biting blast bath blown,--
And sheds no tear, to think that thus
Death and disease shall sport with us?

Alas! alas! on all we see
Deep lies the stamp of vanity;
The dimpled seat of every grace
Must be the grave-worm's feasting place;
The ruby lip of loveliness

That tempts the kiss, and fond caress,
And the fair cheek where beauty blooms,
Must be corruption's and the tomb's.
Pale Death stays not his murd❜rous arm,
For beauty, excellence, or charm,—
But like a whirlwind, sweeps the earth
Of all its loveliness and worth,-
With finger stern, the way he shows,
And struggling Nature yields and goes}
He strips the Monarch of his pride
And lays him by the Beggar's side.
Oh! when the noble and the brave
Prove but the bubble on the wave,-
When excellence and virtue pass,
As dries the dew-drop from the grass,-
When beauty withers, and decay
Sweeps every ling'ring grace away,-
What mortal breathes, that sheds no tear,
To think that all is mortal here ?

AN INQUIRY

INTO THE ELEMENTARY CONSTITUTION OF THE Human Voice,-OR

SPEECH, AS A MUSICAL SCIENCE.

NO. XII.

As a recapitulation of what we have already advanced, we now add to our previous remarks, RULES FOR ELEMENTARY INSTRUCTION IN ELOCU

TION.

It is the great beauty of the science, the principles of which we have thus far detailed, that she does one thing at a time. Elocution has heretofore been considered as an imitative art, and like all other arts, not dependent on science, has had no fixed criterion by which its merits could be judged. Under our present analytic system, it is a science, in which the whole is seen beautifully rising from its varied constituents, presenting a model for copy and a standard for appeal.

The student in Elocution, cannot, satan-like, bound over the wall, in approaching the objects of his pursuit: He must approach by the steps, the gates of the scientific temple, ere he can hope to behold the treasures within its walls. That he may be enabled in Elocution, to accomplish this object by easy gradations, we would advise him in the first place, to become intimately acquainted with the sound of the alphabetic elements: among the tonics, particularly E, as heard in "end"—I, as heard in "it," and E as heard in “err,”—and with the whole class of Subtonics. Among the latter, there is

one element rarely uttered with grace or beauty-the ringent or vibrant R. It is either too greatly trilled, as in the Irish pronunciation, or uttered as the smooth R. The correct pronunciation of the ringent R, as heard in riot, rough, trial, &c., is produced by striking the tongue rapidly once or twice against the roof of the mouth, while the vocalized breath is passing over it. But it is in cases where this element follows a consonant, as in dread, tread, bread, &c., that the greatest difficulty in its utterance occurs. The reason is obvious: in the formation of the element D, the tongue presses against the upper teeth near their junction with the gums; to form the R, after such a position of organs, the tongue must be withdrawn and applied by one or two rapid strokes to the roof of the mouth, as before observed: The necessity and the difficulty of accomplishing this change, in the time allotted to the pronunciation of a word in which these Subtonics directly succeed each other, occasions that imperfection in their utterance to which we have above alluded. We would recommend to the reader the frequent practice on syllables thus formed, as the only mode of remedying the evil of which we have spoken. He will probably in the first attempts, substitute a short vowel, u, as heard in cut, between the two subtonics, pronouncing dread, dŭred,-tread, tured. A daily practice on the combination, will soon give the required facility of utterance, and the pupil will think the cost of the accomplishment as trifling compared with its value.

The smooth R resembles the sound of the syllable "er." Wherever this element begins a syllable or immediately follows a consonant, the ringent impression should be given to it: In all other cases, the smooth sound is applicable to it.

A full power over the sound of the elements having been acquired, the pupil should proceed to utter them, in reference to the concrete or radical and vanish of the voice. In a former paper, we described this concrete as equal in its opening and termination in speech,-extended in its vanish in Song and prolonged in radical in Recitative. Let the pupil, therefore, now pronounce every literal element with strict reference to the equable concrete of Speech. When the full and perfect execution of this object has been accomplished, and neither drawl or percussion preponderates, he may proceed to the practice of force, that is, a loud and forcible utterance of the tonics and subtonics. For the accomplishment of an object so important to the future character of the voice, we would advise him to seek the open air and to join the most forcible low utterance daily to each of the tonics, until his voice has acquired depth and gravity, which it will necessarily do, if the practice has been strenuous and subject to the rules we have laid down. Such a vocal exercise can alone reduce a high

[PAYABLE IN ADVANCE.

NO. 21.

percussive voice, to one of a low fine bass chatacter, and will inevitably so do if industry and ardor attend the trials of the pupil.

When force has been acquired and the voice strengthened, the pupil should turn his attention to the notes of the diatonic and concrete scales. It will be best to begin with the former. Let him commence on the lowest note and gradually ascend to the octave : With the impression of this eighth note on his ear, he should now descend to the key-note. By a daily practice, such as is here detailed, his ear will become attuned to that variety in intonation which invests the most simple thought in richness and beauty, and throws over narrative and descriptive reading the charm of musical harmony. Should his ear not be sufficiently acute to discern the simple gradations of the diatonic scale, he must then either learn them by referring to the octave of the natural note C, of the piano-forte, (speaking instead of singing the accompanying sounds or words,) or by practising with a teacher. The latter mode, when a professor can be obtained, will be preferable. From the diatonic scale, he should proceed to a practice on the upward and downward lengthened concretes: The upward will acquaint him with the varied range of interrogative expression,-the downward with that of affirmation and command. Should be at times be uncertain as to the vanishing pitch of his concretes, in either progression, let him graduate them by the notes of the diatonic scale. Should the doubtful interval be a concrete third, its vanish will, if correct, correspond with the radical pitch of the third note in the diatonic scale: A fifth and octave will obey the same law and give corresponding results. From the practice of the scales, we would direct his attention to the Melody arising from peculiar arrangements of their notes and Let him take words, or even letters, and arrange them under any notation of the diatonic notes, most suitable to his taste: let him read them thus arranged, again and again, until he has satisfied his ear that the diatonic melody has not been broken by the ascent of the voice through an interval wider than that of a tone on each word, and that the successive radicals have not been uttered at a higher pitch than that of a second or tone from each other.

tones.

The diatonic melody is acquired with difficulty. The habits of daily life are not of that character which fit the organs for the calm and unimpassioned melody of which we are speaking. Our conversation with mankind, is continually mingled with those higher inflections of the voice which indicate feeling: Hence the obstacles which arise to a perfect command over the diatonic melody. Its acquirement is, however, an indispensable object to an accomplished reader, to him who believes that whatever is worth doing at all is worth doing well. The Triad of the Cadence, in this

melody, is rarely executed even tolerably. When the ear expects repose in the sinking note of the last constituent of the cadence, it meets with expectancy in the improper direction which has been given to the vanish of the concrete. The downward vanish is essential to the conclusion of sense; and he who cannot execute it, will fail in every endeavor to satisfy the ear in the closing of his subject matter. We would recommend a strenuous practice on the final cadence, as given in a previous diagram, over the words,

"Sweet is the breath of morn."

When the ear has fully felt the impression of the downward vanish on the final note of the Tripartite Cadence, the organs will quickly be enabled to execute it, satisfactorily.

How far quality of voice may be improved, can only be known to those who, like the writer of this essay, have reaped the reward of perseverance in this particular. We would, however, assure the aspiring student, that the voice is susceptible of the highest degree of improvement; that it may be reduced, by practice, an octave in its pitch,-clothed with richness and increased in power. We have known voices so improved. The students themselves have been astonished at the effects produced by a determination of purpose to the great object in view. In a preceding chapter, we have detailed the mode of improvement, and must refer the reader to that paper for a more full development of it.

Rapidity of speech is one mode of strengthening the vocal organs, and as such should not be neglected; but it must be a rapidity subject to decidedly distinct articulation, as its base: Without such a foundation, it can only injure the current of delivery. The pupil should practice, in this department of elocution, on short words expressing excitement; such as the dialogue between Satan and Death, in Milton, the seige of "Harry before Harfleur," in Shakspeare, the impassioned portion of Halleck's Marco Botzarris, &c.

We have thus endeavored to furnish the pupil with a Gamut on which to try his notes. His reward will be proportioned to his labor. Let him reflect, if disappointment should sometimes throw a cloud over his efforts, that the great masters in Elocution, of antiquity, spent years in cultivating their vocal powers: Let him look at their effects, and be persuaded that perseverance is superior to genius.

produces utter confusion in apprehension. To counteract such an evil and to restore the musical harmony which the absence of accent on its rapid succession produced, the ancients divided their poetry into feet, in which the accents were separated at equal distances, and on which the rythmus of their poetry was based. Taking the ancients for his model, a Mr. STEELE published, more than half a century since, a work, entitled, "Prosodia Rationalis," in which he, successfully, endeavored to transfer the mode of the ancient rythmus to English poetry and prose. In this work a musical bar (|) furnished an index to the accented syllable, and a musical rest () accounted, in a pause, for the time of such accent, whenever the foot was deficient in its constituents.

B.

THE INFLUENCE OF A MUSICAL EDUCATION. NO, III.

MR. EDITOR,-I shall now proceed to show the influence of a musical education upon Family Government. By family government, we are to understand the controlling or directive relations. It has been an acknowledged fact, in all ages, that to sustain such government, and preserve it in all its beauty, great wisdom and skill are requisite. No one, I presume, who will give this subject a candid examination, can pretend to deny this fact, let his views of morality be ever so sceptical. Perhaps there may be some, who are at a loss to know what is meant by the preservation of this government in its beauty; this, I think, will be more fully understood hereafter. How this wisdom and skill should be employed, is very obvious. Let the question be asked generally, and I venture to say, that no one who has properly considered the subject, will give an improper answer. Ask a parent, how the strict obedience of his children is to be secured, and if he be honest, he will tell you, by diligently seeking to impress upon their minds those great moral principles of action, which alone can be expected to insure their cheerful submission. The openly sceptical may ridicule this idea as much as they please, but I affirm,—and I challenge contradiction,-that it is an utter impossibility to sustain this government in its purity, without it. It is a lamentable fact, however, that the generality of parents, in all ages, have more or less turned aside from their own convictions of duty on this subject, and have wondered that they were not able to exercise proper moral authority over their familics!

I have heard a mother mourning over the ungrateful conduct of her son. "Oh! how can it be !" she would exclaim;" I have been so careful to instruct him in his duty, to warn him of dangers,-to correct him when he erred. How can these things be!" when, at the same time, the truth has been, that her own neglect or misconception of her duty had been the proximate cause of the depravity she lamented. This is no imaginary theory, but plain matter of fact. There is no parent who does not know and feel it to be the case.

Be it far from me to accuse parents of de

do not wilfully neglect them; yet, it is a solemn truth, that they are too frequently the negative causes of the errors they deplore. It is not my design to lay out a plan for training children, which is not already understood. I

am convinced that parents know their duty, whether they do it or not. My only wish is to remind them, that if the government of their families is not what it should be, the fault lies at their own doors.

Many persons, no doubt, without pausing to reflect, will be ready to say, family government can be sustained without continually impressing the principles spoken of, upon the infant mind; others, perhaps, will assert, that if this moral jurisdiction be not fully maintained, the whole fault will not rest upon the parents. I am, however, inclined to think, that a candid examination of the subject, will convince them of the truth of my assertion.

I might give many reasons in support of my views, but deem it entirely unnecessary to do so at present. I acknowledge that a species of family government may exist under other circumstances than those I have mentioned as its proper basis. But it will not be the pure and beautiful system which ought to direct and govern the ductile mind of youth. For, while the latter government is sustained by its own internal merit and moral perfection, the former is compulsory, and consequently cannot secure cheerful filial obedience. We now see that the domestic relations cannot be fully and purely maintained without the aid of such moral principles. It now follows as a matter of course, that some method must be adopted, by which these principles can be brought to bear upon the mind of the child. The great object of the parent should, therefore, be to ascertain in what manner this may be most easily and beneficially accomplished. Principles thoroughly understood, brought before the mind through the medium of reading, may be as essentially good, as though communicated verbally by the parent. Generally speaking, however, the reverse has been supposed. We will, therefore, look at both methods.

I have often observed a certain restlessness, manifested by children, while the parent was endeavoring to turn their attention to important subjects: but I never knew an instance when a child was apparently in a hurry to cease singing.

In my first number, I gave an example to show that the combined energies of poetry and song exert a most powerful and salutary influence upon the human heart. In my second number, I showed the difference between Music cultivated and uncultivated; that when it is cultivated, it will with the assistance of parental instruction and advice, gain a complete asendancy over the wicked passions of nature, and sweeten all the enjoyments as well as elevate the affections of a family. I also showed in my last, that many children doubtless derive their very first moral impressions through the medium of infant school exercises. It is, therefore, entirely unnecessary to advance further proof on this point at present. We must successfully, from the premises, come to this conclusion, that the most effectual way of impressing pure principles upon the minds of children, is through the medium of Song. We can now see more plainly why a musical education should go hand in hand with parental instruction.

Having shown that parental jurisdiction cannot be properly sustained without the aid of moral principles, we can see what a power

gratitude, and reverence to GOD, and of sympathy and kindness to men which are most suitably expressed in the solemn services of the Sabbath; and here too, shall be sung those anthems of praise to the Most High, which, if they delight us now, will constitute and express the fulness of our joy in the more visible presence of Him whose "name is excellent in all the earth."

ORIGIN OF YANKEE DOODLE. [Whenever and wherever heard, the spirit-stirring air of "Yankee Doodle" is the same thing, and awakens a feeling of high enthusiasm in the bosom of every true American. This and "Had Columbia" are the only two national airs that we can claim as "homemade." Long may they be heard in freedom's happy land! The following account of the origin of the first named, is "scissorized" from the Raleigh (N. C.) Register. ED.]

In the simultaneous attacks that were made upon the French posts in America, in 1755, that against Fort Du Quesne, (the present site of Pittsburg,) was conducted by Gen. Braddock, and those against Niagara and Frontenac, by Gov. Shirley of Massachusetts, and Gen. Johnston of New-York. The following is an extract from Judge Martin's History of North Carolina, giving an account of those expeditions:

"The army of the latter, (Shirley and Johnston,) during the summer, lay on the eastern bank of the Hudson, a little south of the city of Albany. In the early part of June, the troops of the eastern provinces began to pour in, company after company; and such a motley assemblage of men never before thronged together on such an occasion, unless an example may be found in the ragged regiment of Sir John Falstaff. It would have relaxed the gravity of an anchorite, to have seen the descendants of the puritans, marching through the streets of that ancient city, [Albany,] take their situations on the left of the British army, some with long coats, and others with no coat at all, with colors as various as the rainbow; some with their hair cropped like the army of Cromwell, and others with wigs, the locks of which floated with grace around their shoulders. Their march, their accoutrements, and the whole arrangement of the troops, furnished matter of amusement to the rest of the British army. The music played the airs of two centuries ago, and the tout ensemble, upon the whole, exhibited a sight to the wondering strangers, to which they had been unaccustomed. Among the club of wits that belonged to the British army, there was a Doctor Shackburg, attached to the Staff, who combined with the science of surgeon the skill and talents of a musician. To please the new comers, he composed a tune, and with much gravity recommended it to the officers as one of the most celebrated airs of martial music. The joke took, to the no small amusement of the British: Brother Jonathan exclaimed, it was nation fine, and in a few days nothing was heard in the provincial camp, but the air of Yankee Doodle. Little did the author, in his composition, then suppose, that an air made for the purpose of levity and ridicule, should ever be marked for such high destinies. In twenty years from that time, the national march inspired the heroes of Bunker's hill, and in less than thirty, Lord Cornwallis and his army marched into the American lines to the tune of Yankee Doodle."

THE MINSTREL. NEW YORK, DECEMBER 1, 1835. ERRATUM-The words set to the Music in our last number, p. 158, second score, treble staff, should read "If I prefer not," instead of "If I forget not."

TO CORRESPONDENTS.

Many thanks are due Miss "E. J. R.," of Bristol, R. I., for several musical compositions and poetic effusions. Some of them shall most certainly appear in the pages of the Minstrel The "Congressional March" has never reached us. Another copy is solicited.

"Evils of existing customs, No. 1," is received. We thank the author for his contr bution; but should like to see some of the other numbers of the series before we promise to publish this.

SIMPLICITY IN MUSIC.

It is a trite remark, that Music is but another name for Poetry. Trite as it is, however, but few understand its full import, and fewer still practice on its teachings. How unintelligible and jargon-like do the most sublime strains of Poesy appear, when sung by some of the popular performers of the day. Under such caterwauling sounds as so often proceed from those who minister at the gaudy shrine of Fashion, who can enter into the true spirit and meaning of the Poet? We often hear it said, that certain orators have "murdered the King's English;" but most of our fashionable squallers are not satisfied with mere murder,—they even eat the unoffending victims of their murderous taste! Oh, the Cannibals! In aiming to bedazzle (and speculate on) our modern Republicans, they exceed in barbarous allusions the Gladiators of Rome. What a gnawing of words have we witnessed! What a mastication of stanzas! What a ravenous feast of poems! And the lovers of sweet sounds had gaped over and gazed on the gormandizers of bright and beautiful poetic creations, without being aware of the horrid operation performed before them!

Perhaps we may give some instances hereafter to illustrate our meaning. At all events we shall not be satisfied but in using our best and most constant endeavors to cultivate a

Theatre or the Opera-house, and also by Lectures on the elementary principles of Music, as well as on its moral influence,-to be given by a Professor appointed for that purpose. The number of members is already large, and the prospects of the Society are very flattering. The stated meetings for rehearsal, are held every Wednesday evening, at Broadway Hall, between Grand and Howard streets.

CINCINNATI MUSICAL SEMINARY.

In our last, we alluded to the examination of the pupils of this Seminary, and promised, conditionally, to give in the present number, some further particulars. And for this purpose, we insert with pleasure the

REPORT OF THE COMMITTEE OF EXAMINERS.

The undersigned were invited by Mr. Nixon, to act as s committee, at the annual examination of his pupils.

This interesting ceremony commenced, agreeably to advertisement, in the Baptist church on Sycamore-street, on the morning of the 28th ult., and continued through the evening of the saine day, before a crowded audience of the first respectability.

Fifty of the pupils participated in the ceremony and received certificates with appropriate inscriptions. Of these, eighteen received premiums, for punctuality, attention, industry, and consequeti general improvement; eight, viz: Misses CAROLINE WATSON, JULIA SMITH, CAROLINE RYLAND, JANE PATTERSON, HELEN WALLACE, CATHARINE FOOTE, SARAH WOOD, and CORNELIA NEVILLE, were presented with Medals and Accessits, for perseverance in those habits, (punctuality, &c.,) and for the culti vation of the voice; and one,

Miss MARY E. OBERDOSF,

obtained a medal of the Order of Harmony, for completing the prescribed course in the Theory of Music, and for excellence in Composition.

The committee cannot let this opportunity pass, without expressing the great satisfaction they experienced in witnessing this scene. The accomplished and able principals of this Institution, consisting of Mr. and Mrs. Nixon, and Miss Isabella Nixon, richly merit the thanks of all connected with the pupils; and of the public generally, who may feel an interest in the cultivation of the delightful science of The system of the celebrated LoG ER, which (adapted to circumstances) has been introduced into this Seminary, has been attended by the happiest results; and the great progress made by the youngest pupils, in what may be called the mathematical part of the science, was truly surprisin!.

music.

The examination presented the best possible evidence, not only of the capacity, but of the perseverance and of the punc

N. Y. HANDEL AND HAYDN UNION SOCIETY. This is the name of the new Sacred Music Society, mentioned in our last, as having been recently formed in this city. It was organized on the 11th of Nov. last, and the following gentlemen were chosen officers for the ensuing year :

CHARLES H. ROACH, President.
A. B. RUMSEY, Vice President.
CHARLES DINGLEY, Corresponding Secretary.
NORWOOD BOWNE, Recordig Secretary.
THOMAS F. DE VOE, Treasurer,
WILLIAM H. WILLIAMS, Librarian.
WILLIAM J. EDSON, Conductor.

J. E. CHALLIS, Vocal Leader.

J. B. PRICE, Instrumental Leader. WILLIAM J. EDSON; J. E. CHALLIS; J. B. PRICE; C. DINGLEY; A. HUMPHR Y, Music Committee.

JOSHUA HALL, Professor.

The particular design of this Institution, (as expressed in the Constitution,) is, “the improvement of its members in the science of Music, as exclusively applied to sacred purposes." And this is to be accomplished by Weekly Rehearsals, preparatory to the Public Performances, got up without the aid of the

rare in professors in this branch of science. The committee were particulary struck with two qualities in the pupils, viz: an extraordinary attention to time, and great ease and beauty in fingering. Upon these depend, entirely, the superstruc ture, which future practice and study are to produce: without them, it is impossible for a pupil ever to become a good performer.

This examination is the sixth periodical exhibition which has been given by the teachers, since the establishment of their Seminary in this city; and the increasing number of pupils, and the excellent specimens which exist among the graduated scholars, give assurance that the school is now established on a firm and permanent basis. It merits and has received the confidence of the public.

The undersigned cannot conclude without doing Mr. NIXON and his family the justice of stating, that their exemplary characters, their excellent education, and proficiency in accomplishments unconnected with their present profession, all unite to entitle them to the respect and patronage of an enlightened and refined society.