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expression in itself, but only to signify the continuance of that quality which is signified by other qualities of sound. A loud, or a low, a grave, or an acute sound prolonged, expresses to us no more than the continuance of the quality which is generally signified by such sounds.

6. Short or abrupt sound has a contrary expression, and signifies the cessation of the quality thus expressed.

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7. Increasing sound signifies, in the same manner, the increase of the quality expressed: as

8. Decreasing sound signifies the gradual diminution of such qualities.

I shall leave to the reader to attend to the diversity of expression which arises from the different combination of these diversities of sound.

The most sublime of these sounds appears to me to be a loud, grave, lengthened and increasing sound. The least sublime, a low, acute, abrupt, or decreasing sound.

The most beautiful, a low, grave, and decreasing sound.

The least beautiful, a loud, acute, lengthened, and increasing sound.

Such are the few general principles that, as far as I can judge, take place, with regard to the sublimity or beauty of sounds. The innumerable exceptions that there are to every one of these rules, afford a sufficient proof, that this sublimity or beauty does not arise from the sounds themselves. Wherever, however, any new sound occurs, it is, I think, by its approach to one or other of these classes that we determine its sublimity or beauty.

SECTION II.

Of Composed Sounds, or Music.

I.

In the preceding illustrations, I have considered only simple sounds as producing the emotions of sublimity or beauty.

Sounds, however, are capable of being united by certain laws, and of forming a whole. To such a composition of sounds we give the name of Music; an art, confessedly, of great power, in producing emotions both of sublimity and beauty, and the source of one of the first and purest pleasures of which our nature is susceptible.

Upon this subject, I shall beg leave to offer a few observations, although it is with great diffidence that I speak upon an art of which I have no theoretical knowledge, and of which I can judge only from the effect that it produces on myself.

The essence of music consists in continued sounds. The same sound, however, when continued, has no beauty, farther than as a simple sound, and when long continued, becomes positively disagreeable: Music therefore must necessarily consist in the composition of different sounds.

The succession or composition of all different sounds is not equally pleasing. By a peculiar law of our nature, there are certain sounds of which the union is agreeable, and others of which the union is disagreeable. There is therefore a relation between sounds, established by nature, which cannot be violated without pain. Music, therefore, as an art intended to produce pleasure, must consist in the composition of related sounds.

There

These observations are sufficiently obvious. are, however, two other circumstances in the succession of sounds, necessary to constitute music.

1. The mere succession of related sounds is not in itself pleasing. Although the succession of any two related sounds is agreeable, yet a whole series of such sounds, in which no other relation was observed but the relation between individual sounds, would be absolutely disagreeable. To render such a series pleasing, it is necessary that it should possess unity, or that we should discern a relation not only between the individual sounds, but also among the whole number of sounds that constitute the series. Although every word in language is significant, and there is a necessary relation among words, established by the rules of grammar; yet it is obviously possible to arrange words according to grammatical rules, which yet shall possess no meaning. In the same manner, a series of sounds may be composed, according to their individual relations, which yet may possess no general relation, and from which, as we can discover no end, we can derive no pleasure. What thought is to the arrangement of words, the key, or the fundamental tone, is to the arrangement of sounds; and as the one constitutes a whole in language, by establishing a certain and definite idea, to which all the words in a sentence bear a relation, so the other constitutes a whole in music, by estab、 lishing a definite and leading sound, to which all the other sounds in the series bear a similar relation. The first circumstance, therefore, that distinguishes musical succession, is the preservation of this relation among all the individual sounds, to one key or fundamental tone, which is the foundation and end of the composition.

2. The second circumstance which distinguishes musical succession, is the regularity or uniformity of that

succession. In natural events, succession without regularity is confusion; and wherever art or design is sup posed, is positively disagreeable. In music therefore, as an art designed to please, regularity or uniformity is absolutely necessary. The most pleasing succession of sounds, without the preservation of this regularity, or what is commonly called time, every one knows, is posi tively displeasing. For this purpose, every succession of sounds is supposed to be divided into certain equal intervals, which, whether they comprehend more or fewer notes, occupy the same space of time in the succes sion of these notes. To preserve this uniformity, if there are few sounds in this interval, these sounds must be prolonged to occupy the whole space of time. If there are many, they must be sounded quickly for the same reason. The one constitutes what is called slow, the other what is called quick time in common language. In both cases, however, the space or portion of time allotted to each interval is uniformly the same, and constitutes the only regularity of which sounds in succession are capable. A regular or uniform succession of sounds, therefore, related to one key or fundamental note, may be considered as constituting musical succession, and as distinguishing it from all other successions of sound. The accurate perception both of this regularity, and of this relation, constitutes that faculty which is generally called a good or a musical ear.

II.

If, therefore, we consider music as such a succession of sounds as I have now described, the two circumstances which distinguish or determine the nature or character of every composition, are, the nature of the key, and the nature of the progress; the nature of the fundament

al and governing sound, and the nature, or (as it is commonly called) the time, of the succession.

With both of these characteristics of musical composition I apprehend that we have many associations.

It is perhaps because it is The relation of

The key or fundamental tone of every composition, from its relation to the tones of the human voice, is naturally expressive to us of those qualities or affections of mind which are signified by such sounds. unnecessary to offer any illustration of this, so obvious to every man's observation. such tones in music to the expression of the qualities of mind is indeed so strong, that all musicians understand what keys or what tones are fitted for the expression of those affections, which it is within the reach of music to express. It is also observable, that they who are most unacquainted with music, are yet able immediately to say, what is the affection which any particular key is fitted to express. Whether any piece of music is beautiful, or not, may be a subject of dispute, and very often is so; but whether the sounds of which it is composed are gay or solemn, cheerful or melancholy, elevating or depressing, there is seldom any dispute.

That the time of musical composition is also expressive to us of various affecting or interesting qualities, can scarcely be disputed. In all ages, quick time, or a rapid succession of sounds, has been appropriated to the expression of mirth and gaiety: slow time, or a slow succession of sounds, to the expression of melancholy or sadness. All the passions or affections, therefore, which partake of either of these ingredients, may be generally expressed by such circumstances in the composition, and the different degrees of such movements may, in the same manner, express such affections as partake of any intermediate nature between these extremes. In what

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