Burlington free press. [volume] (Burlington, Vt.) 1827-1865, 1843-03-31
MUSIC.

Music is doubtless of divine origin. In
all ages Of the church we find Vocal Music
constituting part Of religious worship, and
We have the examples of holy men in all
ages of the world engaged in the delightful
exercise of singing the praises of God. We
have also the examples of angels, and of our
Saviour himself.--NIark II, Poland when
they had sung hymn they went out into
the mount of Olives, when the Angel of God
appeared to the shepherds to announce the
Saviour's birth, there was suddenly with the
angel multitude of the heavenly host sing
ing and praising God. Paul and Silas in
prison sung praises at midnight, and sudden
ly there was great earthquake, and the
foundation of the prison was shaken and the
bonds OF the prisoners were loosed. think
the above examples are sufficient to prove
the position VIC have taken, and ought to be
sufficient inducement for the cultivation of
church music.
The importance of sustaining vocal music
is generally admitted, but there is not that
deep feeling and interest manifested by the
Church that the subject demands. l, is true
that they help to sustain singing school for
the cultivation of the science, but in many
places they seldom if ever visit the school
room, to encourage them by their presence
and influence, and to help sustain good order,
and 10 see that the instruction and prac,,ce
Of the school is adapted to the age and expe-
riencc of the pupils. The Ultimate success
and improvement of the Choir depends main
ly upon the proper estimation of their servi-
ces by the church and their efforts to sus.
tain them.
The office Of Chorstcr is a responsible
and sacred one. Next to the clergyman
perhaps none is more so. Something more
than mere singer is required, though from
common practice we might infer otherwise
He ought to be acquainted with the rules of
composition, meditation, musical feet, ca
dence, elocution and thorough bass. Every
thing depends upon the proper adaptation of
music to the poetry. The accent of the
former must be sacrificed to the latter, and
oil the rules for correc, reading ought TO be
strictly observed in singing, and never take
breath between the sylables of any word.
The expression of the different KEYS is
very important. To account satisfactorily
for their different effects is difficult; but every
musician is sensible Of their existence, and
for the benefit of those who probably have
not the means Of informing themselves in
this important department of the science,
will take the liberty to lay before such, the
opinions of the best authors and composers
with which am conversant.
The key G is bold, vigorous and COM
manding, suited to the expression of war and
enterprise. Its relative, minor A is plain
tive but not feeble.
Tho key of G Zone sharp) is gay and
sprlghtly. being the medium key, it is adapt
ed to the greatest range of subjects and is
the most used of any of the sharp keys. Its
relative minor Z is persuasive, soft and ten
der.
The key Of d 1.-TWO sharps) is ample, grand
and noble, having more force than C; it is
suited to the loftiest purposes. Areion and
Ae in the Carmina Sacra are beautiful cx-
amples of this key. Its relative minor B is
commanding but IN too high tone to excite
commisseration.
The key of A (three sharps) is golden.
warm and sunny. Horton and Sentence page
~. Z. 5: are striking illustrations of the
brilliant elects OF this key. It's relative
minor r. sharp. is mournfully grand.
The key Off, flour sharps) is bright, pei.
lucid and feminine; adapted TO brilliant sub
jects. In this key Hayden has written his
most elegant thoughts. Antioch is most
splendid example of this key.
The key of B five sharps) is keen and
but is seldom used.
The key of F sharp (six sharps) and the
key Of sharp (seven sharps) are seldom
used in church music.
FLAT kEys.-The key of F Zone flat) is
mild. rich, sober and contemplative, well
suited to serious subjects. Its relative mi
nor D,possesses the same qualities, but of a
eeeper cast, more doleful, solemn and grand.
The key of B fiat 1.-TWO fats is considered
BY some composers as the least interesting Of
any, as il has not sufficient fire to render il
majestic or grand-siill, we find many fine
pieces written in this key-and think it is
used as much as any of the fiat keys.