1811.) 
who are attached to them, collect around 
their temples, nat to defend truth, but 
theiridols. For atime it will be so with 
those who hold the commonly-received 
opiuions of the descent of nations. His- 
tory wall be searched to support their edi- 
fice; fiction will be brought against 
fact: and nothing will convince a few, 
until they find their writings fixed on the 
shelves, with books of magic, witchcraft, 
and astrology. A. B, 
<2 
To the Editor of the Monthly Magazine, 
SIR, 
YN this enlightened age, in this epoch 
& of novelty and invention, while the 
arts are attaining a perfection hitherto 
unknown, it is curious to see with what 
tenacity the advocates of ancient music 
adhere to their old nations and favourite 
masters, They set up the works of Han- 
del and Corelli as the models of exccl- 
lence, and scruple not to speak of the 
music of the present day in terms of 
contempt and disgust. 
_ By what pretensions these partizans 
‘errogate to themselves the standard of 
‘pertection, I know not; but they remind 
us of the Spartans who cut off the four 
strings fromthe lyre of Timotheus, They 
would dictate their own ideas of taste, 
and prescribe the boundaries of science; 
bat when* philosophers, and lecturing 
 Mausicians, add weight to these opinions 
by entering their denunciations against a 
system they obviously don’t understand, 
I think it only necessary to point out some 
of the excellencies of modern music, to 
prove its superiority, and the want of 
fecling in its opponents. 
Music, like all other arts, is progres- 
sive, and its improvements may be traced 
through a period of more than two thou- 
sand years, Jn the time of the Greeks 
it was thought to be ia high perfection, 
but we need only examine the structure 
-of their instruments, to prove its com- 
parative radeness and simplicity. 
The elements, or simple notes of the 
scale, lave experienced no improvement, 
‘They are the same now as in the days of 
Pythagoras; but it is matter of great 
*In the lectures of the late Dr. Moyse, 
mow read by Mr. Nicol, I was much surprised 
to hear the modern music called a senseless 
jargon, and compared to the tricks and jug. 
gies of a mountebank—that might astonish, 
but never could please. The speculations: of 
this philosopher go still farther: he esta< 
‘Dlishes discord to be musical ewil, and concord 
tausical goody and infers that much vice may 
be apprebended from the frequent use of the 
madera music| . 
.~ - 
Nefence of Modern Music. 133 
> 
surprise that the art of combining sounds 
did not take place till about the fifteentl 
century. 
Muris, Fairfax, and Bird, were the 
first musicians who laid the foundations 
of the barmonic science. Handel, Pure 
cel, aod Corelli, gave it scale, system, 
and arrangement; but the completion of 
the work was reserved for the immortal 
Haydn, who has spread out the edifice 
to the skies, and enyironed with the dee 
lights of melody. 
The leading characteristics of the im. 
proved music depend upon new admixe 
tures of sound to an extent hitherto un» 
known. If we search into the old au. 
thors, we shall not find a combination 
that exceeds four ingredients, whereas 
the present discovertes fully authorize 
the use of the chord of the thirteenth, 
which is a compound of all the notes of 
the scale. In what way the five remain 
ing semitones may be employed; it is 
Jeft for succeeding. ages to determine. 
Auother prominent feature is the fre. 
quent use of acombination of four minor 
thirds, constituting the chord of the ex- 
treme flat 7th. By this agent the most 
intricate harmony is solved ; it is a men 
struum in which all the chords are ches 
mically changed, and in the hands of a 
master it is the key that leads us through 
the winding recesses to the unexplored 
chamber of harmony, ; 
Having slightly hinted at these discover. 
ies, it is requisite to point out some improves 
ments in the department of melody that 
have much tended to increase iis operation 
and sympathetic effects upon the mind. 
In the time of Handel and Scarlatti, and 
prior to the invention of the pjano-forte, 
the composer had no helps to his genius 
but what the harpsichord would afford ; 
and, as this instrument, from its mechae 
nical structure, is devoid of expression, 
it was only serviceable in the combina- 
tion of sound. But the piano-forte at 
once combines with this power the graces 
of enunciation, Its improvements have 
kept pace with the genius of the age, 
and it has powerfully lent its aid~-in 
giving birth to the most passionate and 
exquisite species of song. Though .im- 
perfect, it has taught the voice .and 
Violin to give a new utterance to sounds, 
and to divulve a tenderness that softens 
and refines the heart of man. 
Musical enunciation may be said to be 
still in its infancy, and its faculty of ut- 
terance and inflexion is apparently with 
out bounds. J have experienced with 
delight the indescribable impression which 
Catulani imparts to the pricy | 
we . . Oo 
