New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1852-12-30

diving for norsel of bread. Bat blank as - Ia nc
count Of lieless eycs The blind has been reniarAs'
erin more cheerful than tie voice ess-thosr 20 wao
human tones are denied because hearing comes no' 70
Give birth 10 speeeh and song. this communion VIII
humanity of the interchange of soul with soni Ia
.yubciizng By words end sounds the thou yhts tina, rs
rom the deep Of mystery, be 20 emincnTly prizei'
surely lis moot beautiful character should be assured by
culture.
lIow much there Is in voce-in simple tone
How completely the distinctions OF tone are vihin me
Grasp of the memory How the voice of the educatea
person expresses the refinement Of the mind, whicn
prompts the mode Of utterance J And wnst
deal Is there to do in correcting the nasal information
which so much charactcrizes our national speeoa-@u
intonation at once the most vulgar, pnchca dry ara
unnellectua Of sny people in the world Tne roc a.
petto of the masters Of song is sadly wanting; ana Is
no uncommon thing to hear mea prsiscd as orapors
among us whose words find nasal ittsrancs who clip
their sylables and let the voice rse az thc emu VI
sentence and at full point.
The frs. thing TO be looked az Is the physical form OF
the voice. This wondrous machinery Of Nature re-
mains inimitable No genius industry thus far ap-
lied N the structure of Instruments has enabled man
to approach the sonorousness beauty or expression oil
cauitaIy gifted and trained voice. IL must ever stand
alone Without venturing but slightly into the deep OF
anatomical nomenclature may briefly rehearse the
marvellous works that enable to speak and sing
that cause TIE infant lisp the lover to sigh bis pas
son or the csntatrce to take captive million oil SUD
jects. This machinery of compose of
First-The lungs which hold air necessary tospeech
and life Second-The respiratory muscles, which
with the chest, I'LL the lungs. Thirt-The trachea and
bronchi which form the windpipe forxed at the boz
tom Fourth--The larynx, which is as reed capable
OF contraction and enlargement. Fhth-The CLOTHS,
whose vocal strings may be kened to the lip OF horn
blower. And lastly-The pharynx or back oil the
mouth the uyula the tonsis, the veil oil the paase tle
paatne arch the nasal cavities the maxary sinusses
the lps and the cheek form indispensable vocal agen
ces. The larynx is the main organ of the voice. IL
comes from the Greek larynx. meaning whistle. 1t
is in shape hollow inverted cone with s base turn.
ed up toward the tongue, like expanded triangle,
opening into the pharynx.
AT this point diagram was presented to the audi
ence by which the physical structure oil the vocal or
gans were explained by four figures
The husky voice Of the sot the sickly drawl OF the
enfeebled form arsticoporal protest against Vice
The nasal twang of so many shows how they have lost
the spirit of Beauty that folded Greece in her arms
that made the theatrical stage the platform of honor
on which scholars and soldiers were too happy TO
figure.
The lecturer remarked, that of the great of
matter which he had prepared for these lectures he
had necessarily omitted much. II il impossible, he
said to he equally new in every lecture when the OPP
portupty for novelty thus necessarily avoided and
the sublimest truths are pronounced dull.
Mr. Fry then reverted to the speaking voice. An
American author Dr. James Rush, is the great writer
on the subject He is an ingenious and lustrious au.
thority OF his careful analysis of the human voice
~ ia a I'm
seblancc between the toycs of the speaking voice and
those of singing. The latter however, the most
prolonged and the most easily defined. They extend
too through wider range Of than those Of the
speaking voice
Some remarks followed upon the sound of the vowes
ofthe English language compared with the Italian and
upon other technical points. The powers OF the violin
are so nearly akin to those of the voice-tha s say
the proongaton of sound, with the power of dminu-
ton increase sliding from one note to another, with
the mnutest divisions of tone, that its well
company lectures on Eocuton. There are in English,
35 elementary sounds which admit of the radical and
vanishing Thelecturer dvidedthem intothree
explained and illustrated them by vocal and
instrumental examples, and by painted diagram.
Among the important things in Elocution is the wave
of the voice. This known to the ancients 1t sig
nies continuation of the upward into the downward
movement. In relation to the influence of Music on
Language DR. Rush says: There is some ground for
the opinion, though this part of history Is not clear
that the restricted meodious nature Of Greek Music,
its relation to song together with the therein taken
adjust the temporal pondcnce of syIables with
notes and it's forming part of the liberal education of
orators poets and philosophers led the close nves-
tigaiion of quantity and nssy effected It's adoption as
the basis of the poetical composition of the Greeks
Our modern music however, being developed BY a
superior class Of nstrumentsthe violin, piano and
organ chiefy-has been properly cut adrf from words
The term musical rythm has Especial Specification,
we shall see when we come to the lecture Melody;
but amongth Greeks, the term ryhm was an unit ap
piled to poetry and music. This separation Of music
and poetry has reacted the scope and character of
the voice. We have seen that in speaking consider
able rangeis given to the intervals used In musical
defamation these intervals are greater and much
more striking. The indefinitely higher oratory of
musical defamation that of speaking declam- !
alton becomes palpable when TO this superior range
which belongs to the former added the nicer shai
ngs oil intervals, and the swelling and prolongaon
OF notes
As al evidence of this and by way of Illustration, Mr.
Fry took the following words-exhbiting the sub
imest and most awful tragedy record-the Cruel.
hxlon, and the circumstances preceding that event
And Plate said, What would ye that do with this
man. l find no fault in him. And the Jews cried out
Cruelty him Cruelty him Then Plate gave ju1g.
inent that it should be they required" These lines
thelecturer muicsy rected navery effective manner,
which gave occasion for the earnest applause of the
dieDce. He then passed to hasy review OF the vocal
melody of composers during the past few centuries and
OF the present day.
Tie lecturer spoke of the Palctrina age 1t is not
unrequent for critics to sIievc the degradatio
of Italian music Palestrina born in 1924 That
was theocratic age. America was just brougl
to light by the genius Of Columbus and the spanards
who were subjugatiog the New Continent with circun
stances Of almost unexampled atrocity, did with
questioned theocratic fervor. Each age produces its
own art and literature. These are q nccessitous out
working Of the times We must no more EXPECT mod