In former times, when music was less understood as a science, than it is at this day, the rules, or rather the licences, for accompaniment were very limited, and confined the harmony to such a paucity of permutations, as would, among modern theorists, be considered bald and puerile. We should not tolerate such music; for the habits acquired, by frequently hear ing compositions in which every possible change -has been introduced, would der the inexpressive, tame, and mono tonous accompaniments of those musi cians, who were contemporaries with the celebrated Guido, (to whom the art is highly indebted), little more gratifying than a peal on an octave of bells. We are not, however, to suppose, that plain, simple melodies are beneath the corn poser's notice ; far otherwise, we could quote many little strains, in which every note is attractive, and whichovhen duly accompanied, give the greatest delight. Pleyel's German Hymn may, in that respect, be considered as neat a spe cimen as could be quoted ; in it we have all the suavity of religion, without any of the dull, tedious, or tautological circunl stances which characterize a large por tion of church music. The variations an nexed to that pleasing air are proofs of thccomposer's taste ; while the presto which follows, and is upon the sane sub ject as the hymn, gives a moat agreeable termination, and is so managed as com pletely to change the character of the music.
The art of composition requires great genius, taste, judgment, a fine ear, and the utmost patience! without these, good music will never bo produced. We should, at the same moment, studiously avoid the pedantic bias, too often receiv ed by men of the first abilities, whereby a certain stiffness, and deficiency of air, are sure to follow ; few, indeed, have the happy gift of acquiring all the necessary attainments in the theory, and to preserve a pure taste for those lyric compositions which are so highly relished by the mul titude. We have, however, seen a ltosina start from the brain of science ! Yet, after all, it is frequently with some difficulty that the favourite airs of other nations gain admittance among us. With persons who can appreciate merit, and who can discover beauty even among features which may not be very regular, foreign compositions are well received ; but it ap pears to us, that the English (speaking of the multitude) have nearly as much par tiality for a peculiar style, such as the ballads of Dibdin, as the Scots have for their reels, strathspeys, &c. In fact, al most all music may be considered as na tional; for in every country we find a peculiar measure, a peculiar mode of accenting, a peculiar kind of expression, or some one or more peculiar circumstan ces, which at once give a designation to the composition. The Irish nine-eights ;
the Scots reversed punctuation ; the ac. cent of the Polacca on a part of the bar we seldom or never accent; the great simplicity of the English ballad ; the nal vette of the French pastorale ; the wild, yet impressive, flindestanee air: the graceful Italian eanzonette; the trifling, but cheerful, air Russe ; and a variety of others, bstablish a certain index of Ra tional character, at lead as conspicuous, and as prevalent, as the features of their various inhabitants.
The notes used in music form a kind of universal language ; for, being in ge neral use, tbey are equally familiar to all civilized nations : hence it is not uncom mon to see several persons, who can bare ly make themselves understood by speech, unite in a concert, and proceed in their several parts with surprising fa cility and precision. The Italians for a long time had the lead in this fascinating science.; and, such was the rage for the compositions of Italian masters, that an immense quantity of music, composed by the professors of other countries, was nsh ered into the world with Italian indica tions; by which means they obtained a welcome, and sometimes a celebrity, that would probably have been denied them, had their origin been discovered. These circumstances occasioned the general use of Italian terms ; which, in lieu of dimi nishing, since other countries have been able to boast of their justly praised au thors, appear to be even more prevalent than ever. The confirmed establishment of an Italian opera, at every great city, in the most polished countries of Europe, seems to have generated a gout, or a par tiality for both the language and the re presentations of Italy. This has given rise also to many deceptions, particularly to the assumption of Italian names by the natives even of England. Such is the ef fect of opinion, that merit is sometimes obliged to disown her native soil.
We shall now furnish a brief Glossary of those terms which are commonly found in modern music, and explain a variety of little matters relating to the titles of pieces, to the degree of quickness, or of slowness, in which they should be per formed, and such other minutia as could not have been introduced into the former parts of the subject, without breaking that connection which we have endea voured to preserve, whereby to lead the reader, in a familiar manner, through the most essential explanations.