The Anderson intelligencer. [volume] (Anderson Court House, S.C.) 1860-1914, 1880-10-28

the stringed order, undoubtedly; and
such are spoken of before the deluge,
about $50 years. After the deluge, or
1900 before Christ, both vocal and instru-
mental Music are spoken of as things in
common use. It is not denied that the
earlier attempts at song were 50 limited
in design and 80 feeble in imagination as
to excuse the application in our time of
the term bar6arious to the Music OF the
days of Moses and Miriam, and even to
sounds which accompanied the inspired
language of the poet King. Music was
then in its infancy. The rude instru.
ments which Tubal Cain invented, and
which in after ages were improved but
still left rude, were circumscribed IN
their compass and harsh in their tones,
although reason teaches that they must
have been what is technically termed
true in their mechanical formation. Ac-
cording to the compass of these rough
productions the multitude restrained their
compositions. Instruments were con.
sidered necessary to give effect to song ;
but as these auxiliaries could not express
all the sounds of which the voice was
capable, it was thought requisite that the
voice should be made subservient to the
instruments. The more extensive COM
pass of the voice excited admiration, and
stimulated the>desire for imitation. Thus
the voice was the means of improving
the mechanical expressions of sound |;
and rs instrumental mechanism pro.
gressed, the human voice became liberia
ted from the restrictions which former
ignorance had imposed upon it, and a
free course was afforded to its capabili-
ties, in obedience to the excentricities of
the imaginations. Every nation has
always had, as it now has, its own pecu-
liar and distinctive style of expressing
emotion through the agency of the voice.
Barbarous as the first development of
musical ability may have beer, they
nevertheless expressed the peculiar and
characteristic feeling Of the people who
employed them. With one nation the
style was melancholy, with another pen
sive, with another light, with fourth
lively. Some delighted to denote their
ideas in the junction of heightened and
monotonous sounds. expressive of grief; /;
others in short, changing accents, OF care
lessness or Indifference; and others in
deep measured sounds of martial Music.
These distinctions still exist in so marked
degree among different people as to
entitle them to the appellation of ma
tionai musical characteristics.
The frs. traces of Music are to be
found in Egypt, where musical instru-
ments, capable of much variety and ex-
preston, existed at time when other
nations were in-an uncivilized state. A
positive proof of this is drawn from the
figure of an instrument represented on
an obelisk erected by Sesostris, at He'll
opolis. This Instrument, by means of its
neck, was capable, with only two strings,
if tuned fourths, of furnishing that series
of sounds called by the ancients hepta-
chord; and if tuned ffths, of producing
an octave. Now, as Moses was skilled in
all the learning of the Egyptians, it is
probable that the Israelites, who inter-
wove Music in all the religious ceremo-
nies, borrowed much from that people.
Transferring mere sounds from the mind
to paper, without the assistance of any
intermediate articulation, is a wonder
only equalled by the act of writing words.
The master mind which first conceived
the possibility of recording his thoughts
on and in a few parallel lines, by means
of dots and scratches, was one who will
have as great fame as Cadmus. Until
five hundred years ago no composition for
four parts had ever appeared. Counter
point. did not exist. The makers Of
melody were a distinct class from the
harmonist. The barbarism of successive
fifths were of frequent occurrence. The
invention of printed Music, with nova
BILE types, did not occur until the begin
ming of the sixteenth century. In this
period arose those celebrated discussions
and controversies concerning the fnnda-
mental principles of Music. Arriving at
the commencement of the seventeenth
century, we find Music beginning to
acquire more lightness and bouancy, and
new combinations and varieties of meas.
ure produced. At this period were pro-
duced those difficult organ composition,
which, even now, challenge the skill of
the most expert performers Of this instru:
ment. No writer treated of the gamut
of seven notes until one Lambert, in
1880. At the close of the seventeenth
century Oratorios had begun to acquire
importance; and about the same time
Gasparini, Cardicelli aud Clement first
formed the principles of lingering the
harpsichord. In August, l847, the first
convection of composers and teachers
was held at Leipsic. 1t had its rise in the
mind of Franz Brendel, editor of mu-
sical paper, who tried to bring about
meeting of music teachers for discussion
and action with respect to various abuses
of the day. Through his exertions q
committee was formed, and an invitation
was extended not only to teachers, but to
composers, organists and strong friends of
the cause. In consequence of this call
about 12O persons, either Professors in
musical seminaries, music directors, or
ganists, members of orchestras, teachers
of singing, piano, &C., or amateurs Of
high standing, came together. Thus
originated Teachers Conventions"
Music is the air of earth; it is the at.
mosphere of Heaven; the unbounded
universe in one sleepless Tyre, whose
chords of love, and hope, and purity,
and peace are framed into dreamy and
mystic melody by the breath of the in
visible God.
Euery achite Democrat ought to be able to
control at least one colored vote, and control
1t he should.
A PUGNAcIoUs HAwK.-A Georgia