imparts, unfolds, and inculcates it constantly without hindrance or obstruction.

Music consists of two principal constituent parts; 1. Tone, and 2. its duration, as reduced to a definite measure— -Rythm. In like manner as the visible world presents itself to the eye by color and outline, the audible makes itself known to the ear by sound and time. Neither indeed can be separated from the other, while yet each is perfectly distinct. The absence of the one would be the

chaos of the other.

Thus, tone and time, as developed by intonation and movement, are the two principal constituents in the nature of music, and it is to their development and inculcation, that the teacher must apply his utmost ability.

2. What can the teacher successfully inculcate? Surely that alone which is clear to himself. And therefore, he must commence by enlarging his own knowledge and arranging it into a systematic whole. The more he advances in his own acquaintance with the subject, the more successfully will he act in its communication to others. What is obscure and intricate to himself cannot of course serve his purpose of instruction to others; for it is always sufficiently difficult to express with proper clearness, even that which itself is most perfectly plain.

3. What ought the teacher to accomplish? He ought to make his efforts productive; and in order to do it, he must, above all things else, possess two qualities-without which all the rest are of but little or no value-namely, faithfulness and zeal. If he executes his office with both, he may,

4. Expect the most desirable results :-not indeed in all cases those upon which he would particularly calculate, but very frequently those that are far superior to his own anticipation; provided his exertions were not entirely confined to thoroughly barren and crude materials.

(To be continued.)

MEDICAL POWERS OF MUSIC.

Curious anecdotes are related of the effect of music upon animals. Marville has given the following amusing account of his experiments. "While a man was playing on a trump-marine, I made my

observations on a cat, a dog, a horse, an ass, a hind, some cows, small birds, and a cock and hens, who were in a yard under the window the cat was not the least affected; the horse stopped short from time to time, raising his head up now and then as he was feeding on the grass; the dog continued for above an hour seated on his hind legs, looking steadfastly at the player; the ass did not discover the least indication of his being touched, eating his thistles peaceably; the hind lifted up her large wide ears, and seemed very attentive; the cows slept a little, and, after gazing at us, went forward; some little birds that were in an aviary, and others on trees and bushes, almost tore their little throats with singing; but the cock who minded only his hens, and the hens who were solely employed in scraping a neighboring dunghill, did not show in any manner that the trump-marine afforded them pleasure." That dogs have an ear for music cannot be doubted: Steibelt had one which evidently knew one piece of music from the other and a modern composer, my friend Mr. Nathan, had a pug-dog that frisked merrily about the room when a lively piece was played, but when a slow melody was performed, particularly Dussek's Opera 15, he would seat himself down by the piano, and prick up his ears with intense attention until the player came to the forty-eighth bar; as the discord was struck, he would yell most piteously, and with drooping tail seek refuge from the unpleasant sound under the chairs or tables.

Eastcot relates that a hare left her retreat to listen to some choristers who were singing on the banks of the Mersey, retiring whenever they ceased singing, and reappearing as they recommenced their strains. Bossuet asserts, that an officer confined in the Bastille drew forth mice and spiders to beguile his solitude with his flute; and a mountebank in Paris had taught rats to dance on the rope in perfect time. Chateaubriand states as a positive fact, that he has seen the rattle-snakes in Upper Canada appeased by a musician; and the concert given in Paris to two elephants in the Jardin des Plantes leaves no doubt in regard to the effect of harmony on the brute creation. Every instrument seemed to operate distinctly as the several modes of the pieces were slow or lively, until the excitement of these intelligent creatures had been carried to such an extent that further experiments were deemed dangerous.

The associations produced by national airs, and illustrated by the effect of the Rans des Vaches upon the Swiss, are too well known to be related; and the mal de pays, or nostalgia, is an affection

aggravated by the fond airs of infancy and youth during the sad hours of emigration, when the aching heart lingers after home and early ties of friendship and of love. It is somewhat singular, but this disease is frequent among soldiers in countries where they are forcibly made to march; but is seldom, if ever, observed in the fair sex, who most probably seek for admiration in every clime.

The whims of musical composers have often been most singular; Gluck composed in a garden, quaffing champaign; Sarti, in a dark room; Paesiello, in his bed; Sacchini, with a favorite cat perched upon each shoulder. The extraordinary fancies of Kotzwara, composer of the "Battle of Prague," are too well known, and led to his melancholy, but unpitied end.

Great as the repute of the most popular musical performers, whether vocal or instrumental, in the present day may be, and enormous as the remuneration may seem, the ancients were more profuse in their generosity to musicians and the factors of musical instruments. Plutarch, in his Life of Isocrates, tells us that he was the son of Theodorus a flute-maker, who had realized so large a fortune by his business, that he was able to vie with the richest Athenian citizens in keeping up the chorus for his tribe at festivals and religious ceremonies. Ismenias, the celebrated musician of Thebes, gave three talents, or £581, 5s. for a flute. The extravagance of this performer was so great, that Pliny informs us he was indignant at one of his agents for having purchased a valuable emerald for him at Cyprus at too low a price, adding, that by his penurious conduct he had disgraced the gem. The vanity of artists in those days appears to have been similar to the present impudent pretensions of many public favorites. Plutarch relates of this same Ismenias, that being sent for to play at a sacrifice, and having performed for some time without the appearance of any favorable omen in the victim, his employer snatched the instrument out of his hand, and began to play himself most execrably. However, the happy omen appeared, when the delightful bungler exclaimed that the gods preferred his execution and taste. Ismenius cast upon him a smile of contempt, and replied, "While I played, the gods were so enchanted that they deferred the omen to hear me the longer; but they were glad to get rid of you upon any terms." This was nearly as absurd as the boast of Vestris the Parisian dancer, who, on being complimented on his powers of remaining long in the air, replied, "that he could figure in the air for half an hour, did he not fear to create jealousy among his comrades," Curiosities of Medical Experience.

CENTENNIAL OF THE MESSIAH.

Handel's giant work of the Messiah, the one which has most contributed to make his name imperishable and every where known; a work which after a hundred years has lost none of its truth and reputation; the choruses of which, especially its glorious "Hallelujah" are still esteemed and universally known, and will remain so as long as true music shall be understood and appreciated by men ; this work was first brought out in public in 1741, just a century ago this year. The exact date seems to be somewhat in dispute; it is generally assumed to have been the 12th or the 14th of April, but his own manuscript of the score, in the library of the king of England, has the following dates; begun on the 22d August, finished the 12th and performed on the 14th of September 1741; and we must take this latter date therefore to be authentic.

How few composers of his time can boast at present of a more than historical reputation, and what single composition of that time is there so generally known as the Messiah? Wherever a sufficient choir is formed, there the choruses of the Messiah above all things are introduced and heard!

What can we do to celebrate the Centennial of this master work? what will our musical societies do?

CONCERTS.

We have at this time ouly to mention repetitions of former concerts, yet the number of concerts was fully equal to that of the previous weeks, and the interest of the public seems to be unabated. They were all well filled and the audiences expressed much gratification, and truly they were a series of well selected and well executed performances, both those of the societies as well as those of individuals. In its instrumental concerts the Academy takes a high stand by giving good compositions by means of the best orchestra in Boston; and the Handel and Haydn society benefits itself and the public by the prolonged engagement of Mr. Braham. This singer improves upon hearing him oftener, and his second performance in the Oratorio of David pleased us much more than the first. He took his part in a more simple, yet in a nobler style. The concert of the society on last Sunday was a still more gratifying performance. To Mr. Braham's last song in it however, we can by no means give our full approbation. It was Luther's Judgment Hymn, a German Choral, in the true protestant style, speaking in its measured rhythm, and its beautifully clear and powerful succession of chords, with irresistible earnest to the heart, and we certainly cannot pardon Mr. Braham's embellishing this choral melody and closing it by a prolonged figurative cadenza. That his voice in this solo was throughout a little too flat we will easily excuse, by the fact that the pianoforte to which he had sung his previous songs was half a tone flatter than the organ.

THE MUSICAL MAGAZINE.

NO. LVI.

BOSTON, SATURDAY, FEBRUARY 20, 1841.

MR. ELIOT'S LECTURE ON THE POEM AND MUSIC OF THE" SONG OF THE BELL,"

DELIVERED AT THE FIFTH CONCERT OF THE BOSTON ACADEMY OF MUSIC, IN THE SEASON OF 1840-1.

I should deem it presumptuous, in times like these, of so much excitement upon all subjects, political, literary, religious, and even musical, to attempt to entertain any portion of the public by discoursing upon so quiet, unpretending a subject as a short lyric poem, and the music which has been adapted to it, did I not believe that there are yet many in this community who will think it not inconsistent with the spirit of improvement, whether in health of body or health of mind, to devote a few moments of relaxation to an intellectual pursuit which can advance no favorite theory, no political prospects, no philanthropic scheme. It is simply as a rational amusement that this illustration of the "Song of the Bell," and the performance of the music composed for it are offered; and if any portion of the audience shall be withdrawn from the harassing toils of the day, or the extravagant excitements of the times, and soothed and cheered by Schiller's thoughts and Romberg's strains, we shall esteem ourselves well and usefully employed, and a valuable object will have been attained.

VOL. III.