No doubt the heterogeneous combinations of sounds so observable in some tunes, has drawn out the repugnance of persons of good taste, and otherwise friendly to harmony. And it must be admitted, that many of our modern composers display but little acquaintance with thorough bass, or the

idea, when describing creation harmoniously springing into being, as the "morning stars" opened their heavenly lays; and when at the close of time, the strains shall be hushed, the spell broken, nature run into disorder, and finally sink into its original chaos. The following extract will justify this as.

sertion:

"From harmony, from heavenly harmony,

This universal frame began;

When nature underneath a heap of jarring atoms lay,

And could not heave her head,

The tuneful strain was heard from high,

Arise, ye more than dead.

"Then cold and hot, and moist and dry,

In order to their station leap,

And music's power obey.

"From harmony, from heavenly harmony,

This universal frame began ;

From harmony to harmony,

Through all the compass of the notes it ran,

The diapason ending full in man."

And, as Dr. Johnson observes, the conclusion is striking :

"As from the powers of sacred lays,

The spheres began to move,
And sung the great Creator's praise

To all the bless'd above.

So when the last and dreadful hour
The crumbling pageant shall devour,
The trumpet shall be heard on high,
The dead shall live, the living die,
And music shall untune the sky.

delicacy and chasteness of musical taste.

The

notes look opposition to each other, as they occupy their vexatious positions on the score; and the moment they are allowed to speak, instead of unity, there is a war of sounds; though an attempt is generally made to give them a friendly close.

And in tunes that are well harmonized, and all the parts agree, like a well ordered and affectionate family, many singers make themselves liable to the charge, of "sowing discord among brethren." For instance, in some tunes there are airy passages, which perhaps run with the leading part at the distance of thirds, and are easily struck off, especially by a good ear. During the progress of the tune, as the chances occur, the full volume of voice is suddenly thrown in, and as abruptly withdrawn, making the effect disagreeable to judicious hearers.

But this error is still more glaring in attempts at counter singing, by novices in the art; and whose voices are by no means entitled to that distinction. If these singers can but get firmly fixed upon F, G, or A, they will take care that the full force of their voice proclaims their ridiculous elevation, to the insult of the choir, and the annoyance of the thinking part of the assembly.

In a choir, certainly the air should be fairly and firmly supported, and distinctly heard from beginning to end. Let the bass be as plentiful as you please, especially if free from guttural croakings and nasal twangs. The treble should be more

subordinate to the air, and the alto still more so. This part is a valuable addition, when the voice is sweet, flexible, and melting, and when brought out with taste and judgment. It should be heard like distant aerial warblings; which, dissolving and mingling with every part of the diapasons, and losing itself in the rolling bass below, produce in the soul delightful and awful sensations.

No, we cannot part with harmony, whatever praises may be bestowed on ancient melodies; every proper view of its nature and use, presents many arguments which harmonize in its favour. The theory of harmony has extended the field of music, and called into action every variety of voice. By it a part of one of Dr. Watts's verses is rendered more emphatic:

"Ten thousand thousand are our tongues,

But all our joys are one."

Every person that has an ear and a voice, may thus with ease fall into one of the parts of a tune, and thereby glorify God with his bodily organs, as well as with his spiritual powers, which are both his.

What delightful associations of thought and feeling are awakened in referring to particular seasons; when the theme of scriptural discourse was impressive; its ministrations enlightened and vigorous; the congregation large and attentive;when the singing broke forth in harmonious strains

from a thousand voices, in all the forms of seraphic zeal;-did we not for a space of time forget that we were the inhabitants of a discordant world, and fancy ourselves the entranced beings of a purer state, where,

"Him day and night

Th' united choirs of angels sing."

Nor can we forget those select and domestic seasons, of a specially devout character, when instrument and voice harmoniously vied with each other, to enhance the pleasure of the party,—a pleasure which threw a charm over domestic cares, and which lives, and will still live, in the recollection we trust, till it mingles as one, with the music of the blessed in heaven.

Can we then with these impressions in favour of harmony, open our congregational music books, and after looking deliberately at the Old Hundred tune, Windsor, Sicilian Mariners, Behemoth, Sprowston Lodge, St. David's, Arabia, Dryden's, Shirland, and others too numerous to mention— we ask, can we take the dissecting knife, and cruelly sever the parts asunder, leaving nothing alive but the naked air, to mourn its bereavement ? No, "What God has joined together, let no man put asunder."

CHAPTER IV.

PLAIN PSALMODY, CHANT, FUGUE, ANTHEM, AND CHOIR.

The chant used by the first Christians—attempts to fix the meaning of Recitativo, Anthem, Psalm, Hymn, and Song - the Hymns which our Saviour and his Disciples sung considered— Antiphonal form of singing noticed—Pagan music early introduced into the church--Anthemic music defended by many considerations—many persons not able to appreciate it—various objections met—Rev. C. Wesley's defence of it quoted—Richd. Baxter and J. Wesley quoted-mode of singing by the Wesleyans, Independents, Church of England, in America, Scotiand, &c.-Musical Festivals considered — distinguished singers noticed.

In this chapter we shall consider music in the character of plain psalmody, the chant, the fugue, and anthem. All these forms, or styles of music, are more or less cultivated; and the three latter are the source of great delight to many, while to others they are productive of disgust. Appeals have been made by all parties to the usages of the ancient Christians. But the answers from that quarter, are not sufficient to satisfy enquiry, and to allay the spirit of controversy. It may be affirmed however, we think, on solid ground, that music was practised in all the above forms, allowing for shades of variations, in the earliest ages of