Cooper's Clarksburg register. [volume] (Clarksburg, Va. [W. Va.]) 1851-1861, 1852-07-28

i
eral compilations of a similar kind. He
has from his youth made himself tho
roughly acquainted with the principles o.
music; and his soul, tempered as it j:
now by many years of experience, kin
dless into glow on the contemplation o.
this divine philosophy. His Fluctuations
consisting Of eleven chapters unfolding the
rudiments and principles of the science
present a rich and beautiful system ot
progressive analysis. Whoever wishes to
behold the mysterious obscurity which in
wolves the import of Clef. Scale, diGtone,
iSenlitons, time, measure, rhythm, transpost'
ton, chords. oppression, completely dissipa-
ted, will be amply gratifed in the perusa|
of these pages. In his chapters on Nota-
ton the author has adopted seven distinct
characters for the solmization of the Dia-
tonic scale. as to the propriety of this,
there may be difference of opinion; but
when it is considered, that great majo-
rity of singers cultivate the practice OF
this science merely for the agreeable a
musements which it affords that ready
adaptation of the syllables to every key as
it occurs, though very desirable, is by
no means an easy attainment, most peo-
Pile no doubt will be disposed to wave
their objections. and thank the author for
performing throughout the work, what
they have no inclination to be vexed at
every step i'll performing for themselves.
The various subjects discussed in chapter
sixth, seventh, eight, to the eleventh in
elusive, furnish the reader with admira-
BILE examples of lucid illustration and he
will be induced to review, with increasing
delight, the beautiful system of Deriva-
tions the harmonic triad, its alterations
and diversions the progression of semi
tones; the relation of the two modes,
with their transpositions by chrOmatic sig
natures; and most especially all the in
structions which are given for the attain
ment of parity, .fuIlaess, and .tfrnaness of
musical expression. And here it may
not be improper to remark, that Mr..
FUNK has suggested the substitution OF
"musical Elocution" for the term "Dyna-
mics, F." as 1 believe. with the greatest pro
priety. 1t seems TO me the mind natural
ly revolts at the use of the term Dynanaics
in music. Those unacquainted with the
language of mechanical philosophy, will
never attain clear conception of the
force of that term; while those who have
made that acquaintance, must be shocked
by the strange perverSions. which would
confound the laws of motion with the laws
of oppression. A Quaker indeed, might
understand the term literally; but the
figure is little too deep for ordinary di-
littanti.
Let the curious admirer of this science
only propose to himself short exercise
every day in these principles. Let him
| fill bar or two in each of the seven mea'
sures of time with its primitive notes. and
pursue for himself the successive deriva'
lions, observing as he proceeds the admi.
rable diversity of accent, emphasis, and
cadence, which is thus secured. Let him
form the harmonic triad on each of the
twelve semitoncs in the octave. Let him
perform the various alterations and in
versions, as indicated in the examples o
the autk kor, for every position of the tonic
and dominant Let him carefully deter
mine the proper signature for the staff, IL
each position of the tonic, counting five
flats for every semitone, ascending anC
five sharps decending, not forgetting Il
take the complement to twelve wheneve
|
Let him determine the relative minor t.
every major key which he assumes. II
studying the nature of "Musical Elocu
tion," let him reflect on the singular fact
that the same identical tone, as Q for in
stance, may be produced by hundred in
struments or hundred voices, all in tn
same octave, and yet there will be yer,
diStinguisha6le difference in the tone pro
dueed by each Instrument or by eael
voice. Let him mediate deeply upol
these wonderful properties of sound, ant
the beautiful uniformity ofits laws, ant
his knowledge OF the science will not onl.
be expanded, but his admiration and dc
light will be enhanced and the labors O
our author more justly appreciated
believe, however, that the reader vii
find nothing in these rudiments NOR
worthy of his admiration, than the princi
Piles delivered in the twenty ninth section
with their elucidation. He will her
perceive that there is deep elementar,
principle somewhere, from which the kin
dred arts of music and of poetry deriv
all their beauty and power. 1t woul'
seem that the Spirit of Nature and Truth
pouring her inspiration into the languag
of the poet, according to the emotions q
+ the moment, conforms that language int
, the Iambic, the Trochee, the Daetyl, Q
the Anapaest, while the musician, obedl
ent to the same divine impulse. breathe
out the melodies of his heart, in the move
E ments of Triple, of Common, or of Com
pound time. Mr.. FUNK, in the sectio
alluded to, has traced the coincidence
the four species of poetical feet, with til
| rythmical movements in the modes
, time and he has here exemplifed, wit
his usual perspicuity, the important di;
tinction between Common and TnPpl
time. 1t may be asserted, indeed VIII
nront nonELorao tLat n mora cnmnreleI