The Massachusetts spy. [volume] (Worcester [Mass.]) 1821-1823, 1823-07-16

From The Portsmouth on H. NoratOr.]
-" And with their untun'd strings,
Made horrible discord."
1t has been said with, much plausible
ity, that the general character of ma
ton may be ascertained by an observa-
ton of the character of its musick.-
Each nation has musick peculiar to it.
self; the American sayages, the bar
barous Hottentots, the polished Italians,
the lively French, the sober English
and the halfcivilized Russians have
each musick of their own, and as dis
tinct from that of the others as are the
traits of national character, which dis
tinguish one from the other. II in
sure and preserve the benefits arising
from the exercise of this delightful art,
great pains are necessary to improve
and correct the taste, which directs
the composition and performance of it.
BY reason of the very general ex-
tension of taste in its most liberal &C
ceptation, and the multiplicity of SUBJ
jects to which it may be applied, it is
more liable to perversion and more
easy to be diverted from its proper OBJ
ject. Corrupt and bad taste is that.
which does not communicate to the in
agination such feelings as it is calculat-
ed to receive from proper disposition
of the subject. 1t may not be alto
gether useless TO consider for moment
the cause whence bad taste in sacred
musick proceeds.
First, and most obviously, from ig-
norance of the art itself. Nothing is
more common than ignorant pretenders
to skill, attempting to teach others the
first and essential principles of the mu-
steal science principles which cannot
be acquired but by attentive study, and
constant, unwearied application. With
becoming Difference be it said, that there
is perhaps none of the fine arts so plen-
tifully supplied with superficial teachers
as the delightful art of musick That
art, whose province it is to awaken in
the mind the liveliest and most tender
emotions-to recall scenes the most dear,
and objects the most lovely---to touch the
heart in its most sensitive affections, is
not unfrequently left TO the direction of
those, who possess neither taste, judg-
ment, or knowledge.
A second cause is inattention. mat
tention in the study or performance of
sacred and other musick. is more iniuri-
Gus than is generally supposed. When
the heart and passions are not engaged,
and the mind not interested, it is impos-
sible that any good effect should result.
From hasty and inconsiderate reading,
the understanding is rather injured than
improved; the mind is filed with crude
and half-digested notions of the elemen-
tary principles, on which the musical
science is founded, and the student a.
rises as ignorant as when he commenc-
ed. performance, every power should
be exerted, the mind bent intently on
the subject, and the main design be TO
arouse the feelings of the soul, to- stir
up that celestial fire and energy, which
the power Of musical numbers is so hap
PLY calculated to elicit. When the
well-informed observer considers the
numbers of dull and inattentive mu-
sicians, who appear to regard their per-
formances as task, he need not won
der at the prevalence of that corrupt
taste, which is, unfortunately, too com.
mon among us.
A Sd cause is an improper association
of ideas.
To adapt an improper air to the
words to be used or to the occasion
when they are used, is fault SO preva-
lent, that many, who would otherwise
be thought musicians of no mean rank,
daily commit themselves on this head;
yet it will be difficult to find any circum-
stance, which more materially diminish
es the effect intended to be produced
This is evident, because the ideas thus
associated are of the most dissimilar ma
ture and tendency, and consequently cam
not cause the same ultimate effect Is
il not the height of folly to unite slow
and solemn words, which are calculated
10 awaken pensiye and serious medita-
ions, aud absorb the soul in reflections
IF he most affecting nature. TO an air,
Of which the effect is to cause sensations
directly contrary? What should we think