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We find no difficulty in reconciling the low opinion which we entertain of the great mass of American music, with the favourable reception which has been given it in many parts of this country. It is an observation of Dr. Burney that inferior music commonly gratifies even the most susceptible ear, so long as that which is superior is unknown. The teachers of sacred music in this country have to a great extent been interested in giving circulation to American compositions; and they have been admired, at least in many country congregations, because they have constituted the only music known. But to those who have had access to the works of the great German, Italian, and English harmonists, the indigenous productions to which they might once have listened with interest, will rarely fail to become tasteless, if not positively disgusting. They will feel the want of variety, of originality, and science in these productions. It is notorious that the great majority of those who have been most eager to appear before the public in the character of composers, have scarcely known what was meant by musical science, or suspected that they needed any qualifications except a genius for music, and a knowledge of the difference between concords and discords.* We do not deny that uncultivated genius can invent a melodious air; but we do deny that mere genius can superadd to that air correct and original harmony. The latter requires the combined aid of genius and art; and, it is in this particular that our American composers (we speak with a few exceptions) have been deplorably deficient. They not unfrequently violate the most obvious rules; but we do not complain of them so much for this, as for their utter want of variety and originality. The habit of reading and hearing music has given them an acquaintance with some of the most common harmonical combinations, and to these their compositions are confined. They have had

*Lest we should be suspected of doing injustice to our musical writers, we will allow them to speak for themselves. An individual well known in this country as a publisher and composer of music, has devoted a head of the introduction to one of his publications, to " Composition." After having enumerated, in two sentences, the concords and discords, he adds: "Some discords are allowed in composition, where the notes are short, and followed by perfect chords. Fifths and eights are not allowed to move together, ascending or descending. Except just these, the best rules of composition are practice and observation, joined with a good judgment and sprightly ima gination."

VOL, II.-No. v.

judgment enough to perceive that not every random combination, even of concords, is agreeable to the ear; but not possessing science enough to leave the beaten track and yet keep within the bounds of legitimate composition, unacquainted with the laws which regulate the progression of the fundamental bass, the admission of discords, and the introduction of modulations, they have attempted little more than to patch together shreds of common place harmony. In particular, we look in vain, in this species of music, for those modulations to related keys, which in the hands of the European masters, are among the finest sources of variety and effect. The uniformity of rhythm, in these productions is, if possible, still more tiresome than that of their harmony. The effect of a musi cal piece so much depends on its rythmical structure, that one may be a servile imitation of another, and yet they may have scarcely two notes in common. This tedious sameness of structure all our readers who are much conversant with American music, must have sensibly felt. It will be sufficient for our purpose to recall their attention to one model of a psalm tune, according to which hundreds have been composed, and according to which any one, who possesses tolerable imitative powers, can turn off as many more as he pleases. The two first lines are set in simple harmony, and must contain at least four consecutive crotchets each. At the beginning of the third line, the bass (or air) gallops off in crotchets,-at every fourth step, another part sets out in pursuit; and after both words and music have been reduced to a complete chaos, the bass begins to loiter in minims and semibreves for the rest to come up, and the parts are generally so fortunate as to come out together. We by no means intend to decry the species of composition known by the name of Fugue : it has been the subject of some of the happiest efforts, even of a Bach and a Handel. But we are tired of this endless reiteration of fugue upon fugue, all cast in the same mould; and we confess we are somewhat startled by the mere sight of a triangle of rests on a page of music, and feel inclined to throw the book aside even before we have waited to ascertain the author.

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We think we perceive decisive indications that the public taste, in regard to sacred music, is undergoing a progressive improvement,-in the increased popularity and more extensive diffusion of ancient, solid psalmody,-in the recent

ancient ecclesiastical modes. Each of these forms the subject of a distinct chapter, and is treated with copiousness and ability, although with a minuteness of subdivision which is rather suited to the taste of a German than of an English reader.

publication of many of the most admired lish language.* Some idea of its extent foreign productions, and in the exis- may be formed from an enumeration of tence of a few composers among our- the successive subjects of which it treats: selves, whose works constitute, in a good these are, the scale-musical intervals→→→ degree, an exception to the foregoing re- the use of intervals in harmony and marks. If none have displayed a pro- melody-chords in general-the triad found acquaintance with principles, some and its inversions-the chord of the 7th, have shown at least a familiarity with the and its inversions-accidental chordsbest models of composition; and with- the signatures of thorough bass-caout servilely copying, have produced dences-modulation--time-rhythm-imitations of those models which are by single counterpoint-double counterno means contemptible. Among the point-imitation-variation-fancy-the means of perfecting a reformation which has so happily begun, we know of none which promises so much success as the diffusion of the best treatises on the theory and practice of counterpoint. They may be expected to operate, both by extending the means of writing music in a correct and scientific style, and by repressing the crude attempts at harmony which have been so long imposed on the public. We trust that no one will hereafter venture to appear in the character of a musical writer till he can at least determine the fundamental note of a harmony, and figure a thorough bass. It is not till lately that even any elementary work on musical composition has been accessible in this country. The Massachusetts compiler, indeed, has been for some years in the hands of the public; but in the point of view to which we refer, it is to the last degree immethodical and defective; and besides, is written in so obscure, not to say barbarous English, (the compiler was a German,) that few, we imagine, have ever considered the principles it contains worth the labour of decyphering. The Encyclopedia, published in Philadelphia in 1798, contains entire the treatise of D'Alembert on this subject, which is valuable, as comprising the best account extant of the theory of Rameau; but in a practical point of view, is quite insufficient for the purposes of the contrapuntist. In addition to this, the size and expense of the work which contains it, must have prevented its being generally known. The first publication on this subject which has been circulated to any extent in this country, is the Musical Grammar of Dr. Calcott, reprinted in Boston, 1810. This unites conciseness with judicious arrangement, and a good degree of perspicuity; and as far as it goes, is extremely valuable. To the foregoing we can now add, what is worth more than all the rest, the Essay of Kollmann. This work originally ap-peared in London, in 1796, and had at that time the character of being the most complete treatise of the kind in the Eng

In his classification of chords, Mr. Kollmann follows the system of Kirnberger, which makes the triad and cord of the 7th essential chords, and regards all others as accidental, and reducible either to suspension, anticipation, or transition. The distinction of chords into essential and accidental is an important advantage in the German over the French system, in point of simplicity; and Mr. Kollmann has clearly evinced its great practical supe riority, in regard to the mode to which it leads, of figuring accidental chords in thorough bass. The least satisfactory part of this system, as it appears to us, regards the chord of the diminished 7th. This very important chord is considered by Kollmann as only a suspension of the 6th in the first inversion of the dominant (or as he terms it, essential) seventh. To this account of the diminished 7th, there appear to be two conclusive objections: it is generally used without preparation, and it is not resolved on the same base. In both these respects, it wants the appropriate character of the discords of suspension. These circumstances induce us, with Callcott, to divide so far from the nomenclature of Kernberger as to admit a class of discords by addition, including both the 7th and the 9th on the dominant, from the latter of which the chord in question is divided. We see no good reason, however, to follow Callcott in making the 6th on the subdominant, a third discord of addition, in distinction from the 7th. It appears to us, notwithstanding all that Rameau has said on the double emploi of this chord, to be merely the first inversion of the ordinary 7th on the supertonic.

*See Monthly Review, vol. 21, p. 27.

In the chapter on Cadences, this term will be found taken in an unusual latitude, to denote any two successive chords, which,to use Kollmann's expression," produce a satisfaction to the ear, or a close of the harmony," although they cannot properly stand at the conclusion of a piece, or even of a period, or section. In cases like the present, where agreement in technical divisions is more important than logical accuracy, we are sorry to find different authors so entirely at variance. For instance, Kollmann admits several combinations under the head of perfect cadences, which Callcott does not rank among cadences at all. Kollmann includes medial under the head of perfect cadences; but gives a meaning to the term entirely different from that adopted by Callcott. The medial cadences of Callcott are the inverted perfect cadences of Kollmann. The false cadence of Callcott is one of the species of Kollmann's interrupted cadence. In short, there is scarcely a particular in which the language of these two writers coincides. By Rousseau the term cadence is used in a sense totally different from that adopted by either. On the subject of rhythm, there is a similar, although less discrepancy, between the language of Kollmann and that of the other writers we have consulted.

In a number of instances, in the course of the work before us, the principle of omission is resorted to, for the explanation of an anomaly in harmonical progression. We much doubt whether the intervening chord, supposed by our author to be understood, is ever supplied by the mind, or whether this is the ground on which the progression is tolerated. Music has its anomalies, as well as language; and a frank avowal of it will give more satisfaction to the unbiassed inquirer than so refined and improbable a mode of reducing them to general principles.

In chap. III. p. 37, on the use of intervals in melody and harmony, Kollmann allows, in two parts, the use of two consecutive major 3ds. This progression is forbidden by Dr. Burney, and, if we may put any confidence in the decision of our own ear, with the utmost propriety.

In treating of the inversions of the dominant 7th, he requires the bass, in the Sd inversion, to descend diatonically, without exception; while Callcott allows, in some instances, the bass to descend a 4th, and another part to take the resolution. On the other hand, in treating of the 2d inversion of the 7th, he makes no

objection to retaining the 4th, whereas Callcott, with a few exceptions, forbids its insertion.

His precept, p. 176, that "the bass must never come over the tenor," seems expressed in too rigorous language. This liberty is certainly often taken, even by the best composers, and it appears to us, in some instances, not only to have no unpleasant effect, but to produce an agreeable variety.

Other minor inaccuracies, as well as discrepancies in the language of Mr. Kollmann and that of other authors, might be pointed out. We have been led to notice the above, not for the sake of depreciating the work-which would not only be injustice to an author who has in general treated his subjects so fully and ably, but ingratitude in those who, like ourselves, are not ashamed to confess our obligations to him for enlarging their own views—but rather for the sake of enhancing its value to the student, by apprizing him that he is not to expect perfect uniformity in the different works on musical science, and saving him the trouble and perplexity of attempting to reconcile them.

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While we give nearly unqualified commendation to Mr. Kollmann's views of practical harmony, we must warn the reader not to place too implicit confidence in those parts of his work which involve the principles of harmonics, on the subject of musical ratios. Mr. K. as might be expected from his profession, is much more profoundly versed in the rules of counterpoint than in the mathematical structure of the scale. His views of the theory of harmonics appear to be chiefly derived from the imperfect scale of the organ, and other tempered instruments. The scale of nature he considers as gradual succession of sounds which nature produces from a string when divided into equal parts according to arithmetical (he means harmonical) progression :" that is, when, when 1, 1, 4, 1, &c. of the string are successively taken. However true it may be that this scale "contains every interval in its greatest perfection to the fundamental note, yet when it is considered that these intervals must in practice be reduced, by taking their octaves below, to the compass of the human voice, and that the harmony of the upper notes with each other is as important as with the fundamental, it will be evident that too many of its consonances are false to admit of its having any practical use. The chord of the major 6th on C, for example, is denoted in this scale by the ra

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tio, and the major 3d on F, by 13, which are gross discords, instead of and , their true ratios. The artificial flats and sharps of this scale are wholly false, both with each other, and with the notes of the diatonic scale. So far therefore from "not answering all the purposes of modern composition," which our author concedes, we have no hesitation in saying that the scale in question cannot be made to answer any one practical purpose. The scale of sounds which is far better entitled to be considered " the scale of nature," is that in which the seven intervals of the octave are so adjusted as to produce the fewest false concords possible. This, as has been shown by Dr. Smith, in his Harmonics, requires no musical primes except 2, 3 and 5; and divides the octave reckoned from C upwards, into a major tone, a minor tone, a diatonic semitone, a major, a minor, and a major tone, and a second diatonic semitone. This is the scale in which music is executed by voices and perfect instruments; and from this every tempered scale ought to be reckoned. Instead of noticing this scale, Mr. Kollmann makes an immediate transition from what he terms the scale of nature to the scale "in its improved state," to which he allows but 12 chromatic degrees in the octave. The most perfect tempered scale, however, as well as that of the voice and perfect instruments, contains much more than 12 degrees to the octave, when all the chromatic sounds are inserted. As the diatonic is considerably larger than either of the chromatic semitones, the chromatic scale ascending by sharps is very different from the scale of the same name descending by flats; and the tempered scale in its most perfect state contains distinct sounds for the sharps and flats. It is true that the temperament of the keyed instruments in common use is carried so far as to obliterate this distinction, and to leave but 12 degrees to the octave; but much finer harmony is produced by the instruments constituted by Dr. Smith, Dr. Loeschman, Mr. Hawkes and others, which preserve the distinction between the two chromatic scales.-By thus confining the degrees of the chromatic octave to 12, Mr. Kollmann is obliged to represent the modern enharmonic scale as imaginary, and as only having a nominal existence in consequence of the different modes of writing the same degree, as the sharp of one note, or the flat of the one next above it. But in perfect instruments the enharmonic scale has a real existence. If the chromatic scales ascending and descending be united, a scale of quarter

tones is formed, the value of which can be readily determined with mathemati cal precision. In keyed instruments, if tempered unequally, as they generally are, the want of a complete series of enharmonic degrees is sensibly felt in executing music on several of the keys. To this indistinctness in Mr. Kollmann's account of the scales may be traced several things in subsequent parts of his work, which will create misapprehension, unless understood with some limitation. It is not true for instance, as is stated p. 81. that the chord of the diminished 7th with the octave of the bass added, divides the octave into four equal minor 3ds, except in a tempered scale which annihilates the distinction between diatonic and chromatic semitones. The upper interval, instead of being a minor third, is an extreme sharp second. In the circle of keys introduced p. 133, it is not true, except in the sense just stated, that the key of € flats coincides with that of 6 sharps. As it is not the author's object, however, to teach harmonics, we will remark no farther on that which is not essentially connected with his design, and which would not have detained us so long, had we not been desirous of preventing misapprehension in those who may not have access to profound treatises on the mathematical theory of musical sounds.

The style of this work is far from possessing the uniform neatness and perspicuity which are so much needed in treating of a subject somewhat abstruse: on the contrary, in consequence of the author's partial acquaintance with the English language, it is often obscure and unclassical. We think the American editor would not have transgressed his province, had he ventured on some verbal corrections of the work. We do not insist on the propriety of his attempting to translate it all into pure English; but he might have supplied nominatives to some destitute verbs,and corrected various other grammatical inaccurracies which now deform its pages, we presume without injustice to the author, certainly with advantage to his readers. The typographical errors of the present edition are inex cusably frequent, particularly in the examples, where they will be most perplexing to the inexperienced reader.

But we trust that no one who is desirous to familiarize himself with the principles of musical composition, will be deterred either by typographical mistakes, or an occasional instance of bad English, from giving this valuable work a thorough

perusal. To read it, merely, will be of little service. It ought to be taken up with the spirit which we bring to the investigation of profound science. Those who are desirous of pushing their theoretical knowledge into practice, ought to accompany the perusal of such works as this with the study of the best models of composition. Dry precepts are as insufficient to form a great composer, as a great painter, or a great statuary. It is

only by combining the study of principles with an intimate knowledge of such examples of successful composition as are afforded by the great masters of England and the continent, that the candidate for musical fame can attain his object, and our country be rescued from the reproach of owing nearly all the classical music, which is known and performed in it, to the genius of foreigners. X.

ART. 5. The Young Man of Honour's Vade-Mecum; being a salutary Treatise on Duelling; together with the Annals of Chivalry, the Ordeal Trial, and Judicial Combat from the earliest times. By Abraham Bosquett, Esq. London. C. Chapple. 12mo. pp. 108.

HIS is a very crude, common place

upon the theory and practice of duelling. With whatever contempt and detestation we may look upon this relic of barbarism -the custom of deciding personal quarrels by the "appeal of arms"-we cannot bring ourselves, whilst it has any advocates among the brave, the polite, and the intelligent, to view it with unconcern. The needlessness, the folly, the turpitude, of resorting to this measure have been so often and so eloquently descanted upon, that it were hopeless to attempt the suggestion of any new motive to dissuade from it; and indeed they have been so irrefragably demonstrated, that further remonstrance should seem unnecessary. But it is not always the conviction of the understanding that determines the will. There are those, who in their calm and fasting hours, will readily admit the abstract inexpediency of permitting, even upon the most serious occasions, members of the same civilized community, to settle their disputes by deadly combatsthat in their choleric and after-dinner moods, will jeopardize their own lives and the life of a fellow-creature and a fellow citizen to revenge the most trifling insult which their jealousy had misapprehended, or which their arrogance had provoked. Duelling must not only be proved to be unwise, unlawful, and repugnant to religion and humanity-it must be made disreputable and unfashionable, to render it infrequent. It is in vain that the penal code promulges its interdiction, in vain that the cathedral denounces its anathemas, in vain that conscience interposes its warnings against this nefarious practice, whilst fashion approves, and the world endures it.

It was intimated by a learned and res

pected friend of ours, in a conversation

regard to the wonderful number of benevolent and beneficial associations which have grown up in our day-missionary societies, bible societies, peace societies, sunday-school societies, soup societies, fuel societies, and numerous other similar institutions to promote the spiritual and temporal welfare of the poor;—banking companies, insurance companies, turnpike companies, manufacturing compa nies, and other oppressive combinations for the aggrandizement of the richand the multiform conspiracies among the various classes of tradesmen for the furtherance of their divers craftsit was intimated, we repeat by our worthy friend, on taking a review of this formidable array, which seems to have fortified with sufficient muniments the rights and interests of every other description of citizens, that it was high time a society were organized for the protection of honest men. Could this hint be acted upon there is no calculating the good effects that might result from it; for we do not doubt that there are honest men enough in the community, could they be brought to act in concert, to form a counterpoise against intriguers, and to exercise a salutary control over public sentiment. The misfortune is, that scattered as they are through every condi tion of life, and having only general ubjects in common, they have never yet thought of forming themselves into a confederacy.

Among the many advantages which might be derived from the formation of such a league among 66 good men and true," would be the abolition of duelling. It would not be necessary under the existence of such a federation, for a man of

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