KVFLUEJfCE OF TONK5. 



mittee to enlarge the Journal somewhat, and will furnish the Association 

 with increased means of carrying on its operations — botli of wiiich ob- 

 jects are highly desirable. 



THE INFLUENCE OF TONES OF VOICE UPON THE FEELINGS. 



The natural symbols of feeling are muscular actions of the coun- 

 tenance, tones, and gestures. These, sometimes separately, but oftener 

 conjointly, indicate the state of the speaker's mind. It is proposed at 

 present to consider the injluence of tones of voice upon the feelings. 



It is hardly necessary to say that agreeable tones are all musical, and 

 that oratory and music address themselves to the same principles of our 

 nature. Speech and music are composed of the same elements, and have 

 a common origin. To appreciate the influence of tones of voice upon 

 the feelings, it may be proper to notice their fitness to produce organic 

 pleasure, to awaken associations, and to express the sentiments and feel- 

 ings of the speaker. 



As to the organic pleasure which the tones of voice are fitted to pro- 

 duce, it is obvious that most persons do love euphony, and derive much 

 gratification from it. Though the cultivated ear alone can fully appre- 

 ciate melodious sounds ; yet all men, except those whose organs are 

 naturally defective, or have in some way been impaired, can and do dis- 

 tinguish between different sounds. All feel that there is a difference be- 

 tween concords and discords. Even men of fierce and warlike disposi- 

 tions have been found susceptible of the "concord of sweet sounds." 

 The cruel Nero was exceedingly fond of music, and devoted much time 

 to its cultivation. And Napoleon, notwithstanding his warlike charac- 

 ter, had an ear for music as well as for the clangor of martial instru- 

 ments. He often spoke of his relish for tender music ; and he evinced 

 his zeal for musical science by establishing in Paris an academy for the 

 promotion of it. Not only so — even irrational animals are not insen- 

 sible to the charms of natural and melodious tones. It is said that Gar- 

 rick's dog used to be a regular attendant at the theatre, and evinced as 

 much delight as any other spectator when he heard his master's voice. 

 And professor Metoxa, of Rome, states, that in 1822, he saw a company 

 of snakes wrought up to a high pitch of excitement by the tones of an 

 organ. Some of them seemed to be charmed, and -turned towards the 

 instrument. These facts are sufficient to show that it is not through the 

 medium of philosophic speculation or cold deduction, that we learn to 

 delight in euphony. There is often a real pleasure in the feelings which 

 the tones of the voice excite, considered as distinct from any sentiment 



