ing an ear to all the niceties of music and a correct taste.

Under the term accent, we must speak of other effects attending sounds without any reference to their loudness or softness. The same note may be struck on a drum with a glove or a stick, but the accent of it will be different. The note of the harpsichord wire is the same with that of the piano-forte, but the accent is not so,-the sounds of the one being produced by a quill, those of the other by a hammer. The natural accent of every instrument is different, and the performer is enabled to vary it at pleasure, by certain methods of playing. This is particularly the case with the violin, on which every variety of accent may be produced by means of the bow. As but few characters have been yet adopted that will sufficiently express these varieties, it is evident that the kind of accent given to any note will depend on the taste and fancy of the individual: it will not therefore appear surprising, that the effect of the same music should often be very dissimilar in the hands of different performers.

COLOR.

Every one who has attentively listened to sounds, must have noticed, that besides their acuteness and gravity, loudness or softness, shape and figure, there is another quality belonging to them, which musicians have agreed to denominate color. The answer

of the blind man, who, on being asked what idea he had of scarlet, replied that it was like the sound of a trumpet, is less absurd than may at first be apprehended. If, as Sir Isaac Newton supposed, the impulse upon the nerves of the eye produced by colors is similar in kind or degree to that produced upon the ear by sounds, the impression upon the sensorium, or seat of sensation in the brain, will probably be the same, or so nearly so, that the ideas of the respective external objects will be associated in the mind. According to this theory, the dif ferent musical instruments may be characterized by correspondent colors, so as to be fancifully classed in the following manner.

In addition to what the preceding scale expresses, let it be understood, that the lowest notes of each instrument partake of the darkest shades of its color, and as they ascend they become of a lighter hue, as may be expressed by the following figures.

The sinfonia in the Creation, which represents the rising sun, is an exemplification of this theory. In the commencement of this piece, our attention is attracted by a soft streaming note from the violins, which is scarcely discernible till the rays of sound which issue from the second violin diverge into the chord of the second; to which is gradually imparted a greater fulness of color, as the violas and violoncellos steal in with expanding harmony. At the fifth bar, the oboes begin to shed their yellow lustre, while the flute silvers the mounting rays of the violin, as the notes continue ascending to the highest point of brightness; the orange, the scarlet, and the purple unite in the increasing splendor, and the glorious orb at length appears refulgent with the brightest beams of harmony.

In the human voice, the shades of color are still more perceptible. The lowest tones are formed in the chest, partake of the most sombre hues, and forcibly express our inmost feelings; as they ascend, they become more bright and cheerful, expressing the more lively sensations of mirth and joy. It is in the utterance of these tones that we disclose where the soul of music lies concealed.

There is then independently of words a language of nature, in which the passions are universally and instinctively uttered, and if we attend to them, we shall find that they may all be referred to the gradations of the musical scale. The tones of grief are those of the minor third, and those of joy or

exultation, the harmony of the major. It is the business of the composer to supply the modulation with these tones by which the passions may be awakened.

CHAPTER X.

EXCLAMATIONS.

The ear of the musician is constantly awake to every sort of sound, but none excite his attention more than the exclamations of the human voicea class of sounds never noticed by the composers of a previous age. We can scarcely turn over a page of Haydn, Mozart, or Beethoven, but we find traces of these passionate tones. In our conversation we often hear those expressions which delight us; but the sounds are too evanescent to be caught or readily set down in notes. In our deliberate expressions the tones are more decided, and are easily represented, as in the common salutation

* This and the next passage may be imitated by sliding the finger on the strings of a violoncello.

In the following, where a female is calling to her

the voice is put forth with greater energy, and by the force of the last syllable mounts up to the octave. The next instance is that of a more subdued tone, yet not so low as that of conversation. #-#

The following from Hamlet's mother, when he is accusing her, is peculiarly sweet and natural :

The following are imitations of laughter, which Handel and Weber have written:

b

Eh,

eh, eh, eh, eh, eh, eh, eh, eh.

L'Allegro il Pensieroso.-HANdel.

Eh, eh, eh, eh, eh, eh, eh, eh, eh, eh, eh, eh, eh, eh, eh.