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is, slurring them, or gliding smoothly from each to the next. The 

 dash, is placed over or under notes which are to be performed stac- 

 cato, or very distinct from each other. The hold, is placed over or 

 under notes that are to be prolonged beyond their regular time, and 

 at the pleasure of the performer. 



3. The Principles of Musical Composition and Execution, are 

 partly arbitrary, depending on taste and fashion ; and partly fixed, or 

 founded on the physical theory of music, already explained. We 

 commence this subject by remarking that those notes which, sounded 

 together, produce harmony, would, if sounded in succession, pro- 

 duce melody : because the vibrations which they produce, corres- 

 pond, or coincide, at certain intervals of time ; and this coincidence 

 is, to a certain extent, agreeable to the ear. When the vibrations 

 coincide frequently, they produce a concord ; but when they concur 

 only at long intervals, they produce a dissonance, or in extreme 

 cases a discord ; which is pleasing occasionally, if sparingly intro- 

 duced. The first, third, fifth, and eighth notes, of the diatonic 

 octave, produce the most perfect concord ; and next to this we may 

 name the first, fourth, sixth, and eighth ; and the first, third and 

 sixth ; which last concord is the basis of the minor modes, charac- 

 terized by their sadness and solemnity. 



Musical intervals, are named from the number of tones and semi- 

 tones which they comprehend. The unison, is termed an interval, 

 although the two notes are sounded precisely alike. The minor 

 second, is an interval of one semitone ; and the major second, an 

 interval of one tone, between the two notes which are sounded 

 together. Both of these intervals are dissonances : and the others 

 are similarly named and distinguished. The study of thorough 

 bass, comprehends that of all these intervals and their changes ; with 

 the principles which regulate their use, in harmonic composition. 

 Vocal music is also governed by the grammatical rules of accent, 

 emphasis, and cadence, as in reading or speaking. Voices, in 

 reference to music, are distinguished as bass, tenor, and counter or 

 alto ; the latter being the highest male, or lowest female voices ; and 

 treble, or soprano, which are the highest voices of females. 



4. Of the numerous Musical Productions now before the pub- 

 lic, we have only room to name a few of the most celebrated operas 

 and oratorios. Piccini wrote numerous operas, of which La Burma 

 Figliuola was extremely popular ; and his Dido is considered the 

 best. Cimarosa wrote 120 operas, some of them, as II Matrimonio 

 Secreto, or the Secret Marriage, of superior merit. Of Rossini's 

 operas, II Tancredi, or Tancred, was brought out in 1813, with 

 brilliant success ; and was followed by the Barber of Seville ; La 

 Cenerentola, or Cinderella; La Gazza Ladra, or the Thievish Mag- 

 pie; La Donna del Lago, or the Lady of the Lake; and several 

 others. Bellini is the author of II Pirata'; La Somnambula ; Norma, 

 and two other operas ; and Cherubini wrote Les deux Journees, or 

 the Two Days, which is deemed a masterly production. The Zau- 

 ber Flote, or Magic Flute, of Mozart, is highly original and beau- 

 tiful ; Weber's Der Freyschutz, or the Free Hunter, is grand and 

 wild ; and Meyerbeer's 'Crociato in Egitto, or Crusade in Egypt, is 



