MUSIC. 
reels, strathspeys, &c. In fact, almost all 
nuisic may be considered as national ; for 
in every country we tind eitiier a peculiar 
measure, a peculiar mode of accenting, a 
peculiar kind of expression, or some one or 
more peculiar circumstances, which at once 
give a designation to the composition. The 
Irish nine-eighths ; the Scots reversed punc- 
tuation ; the accent of thePolacca on a part 
of the bar we seldom, or never accent ; the 
great simplicity of the English ballad ; the 
naivetle of the French pastorale ; the wild, 
yet impressive Hindostaiiee airjthe graceful 
Italian canzonette ; the trifling, but cheer- 
ful, air Russe; and a variety of others, esta- 
blish a certain index of national character, 
at least as conspicuous, and as prevalent, as 
tlie features of their various inhabitants. 
The notes used B?music form a kind of 
universal language; for,’ being in general 
use, they are equally familiar to all ci- 
vilized nations ; hence it is not uncommon 
to see several persons, who can barely make 
themselves understood by speech, unite in a 
concert, and proceed in their several parts 
with surprising facility and precision. The 
Italians for a long time had the lead in this 
fascinating science ; and, such was the rage 
for the compositions of Italian masters, that 
an immense quantity of music, composed 
by the professors of other countries, was 
ushered into the world with Italian indica- 
tions; by which means they obtained a 
welcome, and sometimes a celebrity, that 
would probably have been denied them, 
had their origin been discovered. These 
circumstances occasioned the general use of 
Italian terms ; which, in lieu of diminishing 
since other countries have been able to 
boast of their justly praised authors, appear 
to be even more prevalent than ever. The 
confirmed establishment of an Italian opera, 
at every great city, in the most polished 
countries of Europe, seems to have gene- 
rated a gout, or a partiality for both tlie 
language and the representations of Italy. 
This has given rise also to many deceptions, 
particularly to the, assumption of Italian 
names by the natives even of England. Such 
is the effect of opinion, that merit is some- 
times obliged to disown her native soil. 
We shall now furnish a brief Glossary of 
those terms which are commonly found in 
modern music, and explain a variety of lit- 
tle matters relating to the titles of pieces, to 
the degree of quickness, or of slowness, in 
wliich they should be performed, and such 
other minutise as could not have been intro- 
duced into the former parts of the subject. 
witliout breaking that connection which we 
have endeavoured to preserve, whereby to 
lead the reader, in afamiliarmanner, through 
the most essential explanations. 
GLOSSARY. 
A sonata is a piece of music for instru- 
ments only : these are now chiefly for the 
piano-forte, either with or without accom- 
paniments for a flute, or violin, or a violen- 
cello ; or, eventually, with numerous ac- 
companiments. 
A cantata is a piece set to words, and is 
often interspeised with recitative ; some 
of these are medleys, and are very long. 
A motelto is generally considered as 
church music, such as our anthems, hymns, 
&c. or any single pieces of a sacred cha- 
racter. 
An opera is a dramatic poem, in which 
many airs, of various descriptions, arising 
from the incidents of the piece, are sung to 
the accompaniments of a full orchestra. 
Such as are performed at our Opera House 
are throughout musical, being wholly a suc- 
cession of recitative, airs, duets, chorusses, 
&c. performed in character. Opera also 
signifies a work ; as Opera VI. 
A burletta is a comic opera, in contradis- 
tinction to the serious. 
A ballet is a dance in character, which, 
however ridiculous, is admitted and ap- 
plauded, chiefly on account of the excellence 
of the performance. 
An oratorio, a sacred drama, of which the 
words are generally selected from the scrip- 
tures ; they are performed during Lent at 
Covent Garden Theatre. 
A concerto is a grand piece of harmony, 
generally on some given subject, with full 
accompaniments, which join only in the 
chorusses, though a select number of parts 
are allotted to accompany the instrument 
which is intended to be displayed. The 
principal instnimeiit on such occasions is 
termed the concutante, as violino principale, 
or fluto concutante. 
A concutante is intended chiefly to dis- 
play one instrument, but not without allow- 
ing others to be brought into particular no- 
tice at times. 
A voluntary is a piece of music usually re- 
sulting from fancy, an extempore efl'usion ; 
it is not a regular performance, and is nei- 
ther fixed to any particular key, nor limited 
as to time ; these are sometimes termed fan- 
tazias, capricias, ricatatas, tastaturas, &c. 
A serenade, or serenata, was formerly 
meant to denote nocturnal music, but is 
