COMPOSITION, in a general sense, the uniting or [7:7:193] putting together several things, so as to iorm a whole or compound.

Composition of Ideas, an act of the mind, by which it unites several simple ideas into one conception or complex idea.

Composition, in Grammar, the joining of two words together; or prefixing a particle to another word, to augment, diminish, or change its signification.

Composition, in Literature, the art of forming and arranging sentiments, and clothing them with language suitable to the nature of the subject or discourse.

Composition, in Logic, a method of reasoning, by which we proceed from some general self-evident truth to other particular and singular ones.

In disposing and putting together our thoughts, there are two modes of proceeding equally within our choice; for we may arrange the truths relating to any part of knowledge as they presented themselves to the mind in the course of investigation, carrying on the series of proofs in a reverse order, till at last they terminate in first principles; or, beginning with these principles, we may take the contrary mode, and from them deduce, by a direct train of reasoning, the several propositions we want to establish.

This diversity in the manner of arranging our thoughts gives rise to the twofold division of method established among logicians. The first is the analytic method, or the method of resolution, inasmuch as it traces things back to their source, and resolves knowledge into its first and original principles. And this stands in contradistinction to the method of composition, or, as it is otherwise called, the synthetic method; for here we proceed by gathering together the several scattered parts of knowledge, and combining them into one system, in such a manner as that the understanding is enabled distinctly to follow truth through all the different stages of gradation.

Composition, in Music, is the art of composing airs, which, being either singly or in parts combined together, and accompanied with appropriate harmony, form a complete piece of music.

Compositions have been generally divided into two capital species; the sacred and the secular.

Sacred compositions are usually written in strict observance of the rules of harmony, in order to produce a solemn and imposing effect; and to this end also all the parts are conducted in studied and regular progressions. Hence this species has been called rigorous or severe. Albrechtsberger limits the severe style to compositions for voices only, without instrumental accompaniments; but he remarks, at the same time, that they are frequently executed along with the organ and other instruments. The severe style has been accurately observed by the greatest ancient and modern writers, in fugues and other movements of a measured and uniform character; but the species sacred must not be understood to comprehend the whole range of compositions commonly so called, many of which abound in free and fanciful melodies, with full and rich instrumentation.

The secular species affords a wider range to genius, and subsists in greater variety than the sacred. The composer in this style is completely unfettered. He may exert all us inventive powers to heighten the effect of his music. He is tied down to no rules save those which are dictated by taste and judgment, without which no composition can give real satisfaction. The secular style is subdivided into two kinds, theatrical and chamber music. The former is that employed in operas; the latter includes solos, concertos, airs, cappricios, fantasias, vocal and instrumental pieces, and, in general, all sorts of composition which do not fall under the sacred or severe style, or belong to the regular stage opera.

An intimate acquaintance with musical science and the capabilities of instruments, although essential as a foundation, will not of itself confer the power and ability to compose. Conversant with mere mechanical rules, one is no more qualified to understand the art, and operate in the practice of composition, than to form himself for eloquence upon the rules of grammar. The acquisition of such knowledge is only the preparative for composition, “The composer must find in his own genius,” as Rousseau observes, “the sources of beautiful melody, of sublime harmony, the picturesque and the expressive in music; he must, in short, be capable of perceiving and of forming the order of the whole piece; to follow the relations.and aptitudes of which it is susceptible in every kind; to inflame his soul with the spirit and enthusiasm of the poet, instead of being carried away with the mere sound of the words.”

Every composition is either vocal or instrumental, and has a determined number of parts. In vocal music the compass of the human voice must be particularly attended to. In instrumental music the extension of the parts is regulated by the compass of the instruments, and the harmony ought always to be subservient to the expression of the melody.

The great aim in all kinds of musical composition is to produce iimŵ/and variety, because without these two qualities no work can be essentially pleasing. Their employment must be mutual, and, above all, judicious. A piece of music having unity without variety is poor and monotonous; but possessing variety without unity, it maybe compared to the dress of a harlequin, made up of patches and colours, which, in point of effect, appears altogether ridiculous. Every piece of music must, therefore, have at the same time both unity and variety. It is then a genuine production of art, the result of well-directed talent, and a model for artists. Variety is attained by avoiding monotony; unity by connecting ideas in a free and perspicuous manner, attending to just proportion, and keeping clear of heterogeneous construction.

It is easy to define what is termed unity in the other fine arts, because they are chiefly addressed to the understanding, which judges for itself. Thus, for instance, there is no difficulty in observing the unities of time, place, and action in dramatic poetry, in which there are fixed principles to guide an author with the utmost certainty. But in music, which is an art in which the understanding cannot competently judge, and where every thing is dictated and created by feeling only, it is impossible to indicate in what variety, and particularly unity, in music actually consist. Clear perception, well-regulated taste, and genius, are all essential to enable a composer to attain facility in composition. Incalculable benefit will be reaped by carefully analyzing the best models of art, such as the works of Handel, Jomelli, Cimarosa, Mozart, Haydn, and Beethoven. The monotony of sounds, progressions, and cadences, is relieved by pleasing and natural modulations, which do not affect unity. A happy mixture of diapasons, pianos, and fortes, different rhythms, long and short phrases, and periods symmetrically distributed, together with notes of different length, and well proportioned intervals, all tend to produce variety ; whilst, on the other hand, whatever is confused, either in modulation or ideas, is oflensive to feeling, and consequently detrimental to unity.

It has been observed that a multiplicity of different ideas, crowded together in one piece, is reprehensible. It is for that reason desirable that the composer should revert to his primarily-divulged ideas, and continue to develope, modify, and vary them. The best works of Haydn are constructed on two or three leading ideas. That celebrated composer used to say, “When I found a happy idea, I obliged myself to conduct it according to the rules of art. [7:7:194]It is by neglecting tłiis that so many composers have erred. Their ideas are no sooner given out than they are discussed. Thus their compositions leave no permanent impression on the hearer."

The composer must be thoroughly versed in all kinds of counterpoint, and generally in the whole theoretical and practical mechanism of his art. For such instruction we refer to Music, and other articles relating to musical science, in this work. In conclusion, we may remark, that nothing conduces so beneficially in forming an accomplished composer, as a careful and diligent study and practice of the fugue, which, as remarked by Reicha in his Traité de Mélodie, will teach him, first, to give every possible variety to passages; secondly, to modulate with accuracy; thirdly, to develope his ideas in every beautiful form; and, lastly, to preserve the strictest unity in his compositions. It was by a profound conception of the genius of the fugue that Handel and Haydn acquired such distinguished proficiency in music; and it is to it that we are consequently indebted for a great proportion of the most sublime productions of these two illustrious composers.

Composition, in Painting, includes the invention as well as disposition of the figures, the choice of attitudes, and so forth. Composition, therefore, consists of two parts; one of which finds out, by means of history, proper objects for a picture; and the other disposes them to advantage. See Painting. Composition, in Printing, commonly termed composing, the arranging of several types or letters in the composing stick, in order to form a line; and of several lines placed in order in the galley, to make a page; and of several pages to make a form. See Printing.