1825.] 
of the texture and body of the instru- 
ment; and the experiment fully con- 
sidered, will justify the conclusion, 
which, in all rational theory, we are 
obliged to admit—that the specific di- 
versities of tone, in instruments of any 
given structure or denomination, are 
not differences primarily existing in any 
one simple and unmingled sound, or 
volume, or succession of sounds; but 
‘that some indefinite combination of 
sonorous vibrations, differing, among 
themselves in some respects, must be 
the cause of such indefinite variety. 
Whether the single sounds or vibra- 
tions, which are the constituent parts 
of the aggregate tone, so compounded, 
have, sui generis, any primitive and ra- 
dical differences among themselves, in- 
dependently of their intervals; or whe- 
ther they be, in reality, only imperfect 
unisons of simple sounds, differing from 
each other only in loudness, and in 
minute and imappreciable degrees of 
acuteness,* it is not necessary, in this 
* “The sounds which are constantly 
striking our ears, and with which alone 
we are acquainted, being proved to be com- 
pounded of simple or elementary sounds, it 
may be safely concluded, that the vast va- 
riety of tones, which prevails in the world 
is solely occasioned by an union of simple 
sounds, differing among themselves in acute- 
ness; which, according to what has been 
shewn before, is the only distinguishing cha- 
racter they can possess, excepting loudness,” 
—* The intervals that enter into the com- 
position of the human voice, and the tones 
of sonorous bodies, are too small to have 
their terminating sounds accurately discri- 
minated by the ear, but sufficiently large to 
effect it with distinct sensations corre- 
sponding to their relative affections.” 
“ That sound can be modified by nothing 
but sound must be admitted as an axiom in 
phonies ; for if the contrary be maintained, 
an absurd consequence will ensue, viz. that 
sonorous bodies can produce in the ear 
sensible impressions, arising from their 
specific or chemical qualities. But this is 
a doctrine repugnant to the common theory, 
which ascribes the whole effect to the force 
and celerity of the pulses of air striking the 
auditory organs; no regard being paid to 
the qualities in question; excepting that a 
greater degree of elasticity renders a body 
capable of sounding for a longer time than 
one possessed of a less degree : hence a 
vessel of brass is more sonorous than one 
of wood, both in point of loudness and 
duration.” —Gough’s Ess. Var. Voices. 
The argument is well stated; but the 
conclusion has its difficulties. For surely, 
there are characters of sounds, that are not 
musical sounds, i. ¢. that do. not accord with 
any note ofthe gamut. Such, for example, 
are all the sounds of the whispering voice ; 
German Translation of the Pentateuch. 
399 
place, to inquire. That the tone or 
voice of an instrument, and the tone of 
any human, or other animal voice, is an 
aggregate or complication of several 
sounds, arising out of the complex 
structure and secondary vibrations of 
certain portions of the frame, mechanic 
or organical; and not one simple and 
unmingled sound, dependent alone on 
the tension and strength of the string, 
or the dimensions of the pipe, in the 
former instance, or on the structure 
and aperture of the larynx, in the lat- 
ter, is all that is here contended for ; 
and, in this point of view, the argu- 
ments of Mr. Gough may be regarded 
as conclusive corollaries to the doc- 
trines of the present lecture. 
(To be continued. ) 
—————_ 
To the Editor of the Monthly Magazine. 
Sir: 
| SHOULD be much obliged to any of 
your correspondents, who could in- 
form me, whether there has ever been 
any translation, either into the English 
or the French language, of the preface 
to Mendelsohn’s German translation of 
the Pentateuch? As that preface is 
acknowledged, by the German Literati, 
to comprize a learned and truly inge- 
nious treatise, on the lyric and poetical 
portions of the Old Testament; and on 
the rules and the principles of Hebrew 
Poetry in general, it could not but 
be highly interesting in a literary and 
critical point of view; and_ perhaps, 
if the task has not. hitherto been 
performed, some of. your coniri- 
butors (and it is evident that such 
you have who are familiar with the 
German language) would undertake it,. ' 
it might be no unacceptable article 
in your interesting and very useful mis- 
cellany: to those, especially, who may 
deem it a misfortune to subscribe them- 
selves, as I do, 
No German Scuotar. 
such are the specific sounds of all the sib- 
ilants—s, th, f, ch, &e. ; such, perhaps, is 
also that delightful sound made by the 
murmuring of the ocean upon the beach; 
for I never yet met with any musician, who 
would venture to pronounce that this agreed 
with any note or notes in the whole gamut 
of his art. Query, therefore, whether philo- 
sophy has not, in this respect, as in some 
others, simplified too far? and whether 
there are not primary specific differences 
in the characters and qualities of sounds 
independent of their pitch or their loud- 
ness? But I forbear all further disquisi- 
tion on this particular point, because it 
interferes not with my general theory. 
