3JO LECTURE XXXIV. 



LECT. XXXIII. ADDITIONAL AUTHORITIES. 



Zarlino, Institution! Harmoniche, fol. Venice, 1558. Salinas, do. fol. Salamanca, 

 1577. Tigrini, II Compendio della Musica, 4to, Venice, 1588. Cartesii Musicse 

 Compendium, Utr. 1650. Menzoli, Musica Speculativa, 4to, Bologna, 1670. 

 Salmon on Music, Lond. 1672. Dechales, Cursus Mathematicus, 3 vols. fol. Lyons, 

 1674. Holder on the Natural Grounds and Principles of Harmony, Lond. 1694. 

 Wallis, Ph. Tr. 1698, pp. 80, 249. Henfling's Musical System, Miscel. Berol. i. 265. 

 Malcolm on Music, Edin. 1721. Rameau, Traite de 1' Harmonic, 4 to, Paris, 1722. 

 Systeme de Musique, 4to, 1726. Euler, Tentamen Novae Theorise Musicse, 4to, 

 Petrop. 1729 ; also Hist, et Mem. de Berlin, 1764, pp. 165, 175 ; Novi Com. Petr. 

 xviii. 330. Montvallon, Hist, et Mem. de Paris, 1742, H. 117. Smith's Harmonies, 

 Camb. 1749. Serre, Principes d'Harmonie. Esteves on Temperament, Mem. des 

 Savans Etrangers, ii. 113. Romieu on do. Hist, et Mem. 1758, p. 483. Avison on 

 Musical Expression, 12mo, 1752. Antoniotto on Music, 2 vols. fol. 1760. Doni, 

 Opere, 3 vols. fol. 1763. BaiUiere de Laisement, Theorie de la Musique, 4to, Paris, 

 1764. Jamard, do. 1768. Holden, 4to, Lond. 1770. Kirnberger, Kunst der 

 Reinen Satzes, 4to, Berlin, 1771. Sulzer's Theorie der Schonen Kiinste, 4 vols. 

 Leipz. 1772. Lambert on Temperament, Hist, et Mem. de Berlin, 1774, p. 55. 

 Bemetzreider, Traite de Musique, Paris, 1776 ; Essai sur 1'Harmonie, 1781. Van- 

 dermonde, Systeme d'Harmonie, 1778. Choron, Abrege des Principes de Composi- 

 tion, 2 vols. fol. Paris. Steele's Prosodia'.Rationalis, 4to, Lond. 1779. Pizzali, La 

 Scienza de' Suoni e dell' Armonia, 4to, Venice, 1782. Young on Compound Sounds, 

 Nich. Jour. 8vo, ii. 264 ; iii. 145 ; iv. 72, 101. Weber, Theorie der Tonsetzkunst, 

 4 vols. Mainz. Shield's Introduction to Harmony, 4to, 1800. Kollman's New 

 Theory of Harmony, 4to, 1806. Busby's Treatises, v. y. Catel, Traite d'Har- 

 monie, 1808. Raymond, Bases Physico-math. de 1'Art Musical, Paris, 1813. 

 Morel, La Musique expliquee, 1816. Macdonald's Treatise on the Harmonic 

 System, fol. Lond. 1822. Nathan's Essay, 1823. Baldwin's Science of Music, 

 12mo, 1829. Blein, Principes de Melodic, 1832. Prony, Introduction Elementaire 

 aux Intervalles Musicaux, 4to, 1832. Beethoven, Etudes d'Harmonie, 2 vols. Paris, 



1833. Albrechtsberger, Methode Elementaire d'Harmonie, translated into English, 



1834. Woolhouse's Essay on Musical Intervals, 12mo, 1835. Busset, La Musique 

 expliquee, 1836. Fetis, La Musique mise a la Portee de tout le Monde, 1836. 

 Graham's Essay on Musical Composition, Edin. 1838. 



LECTURE XXXIV. 



ON MUSICAL INSTRUMENTS. 



THE application of the theory of harmonics to practice depends on the 

 construction of musical instruments of different kinds : of these we shall 

 only be able to take a cursory view, and we shall afterwards attend to the 

 historical order of the most remarkable steps, by which both the theory and 

 practice of music have been advanced to a high degree of refinement. 



Musical instruments may be most conveniently arranged, accordingly as 

 they are principally calculated for exciting sound by the vibrations of 

 cords, of membranes, of elastic plates, or of the air ; or by the joint effects 

 of the air and a solid body vibrating together. The essential varieties o,f 

 stringed instruments are found in the harp, the harpsichord, the pianoforte, 

 the clavichord, the guitar, the violin, the vielle or monochord, and the 



