390 
cuétion, fhovld have an early attention in 
every didactic work ; becaute, * the ftudy 
of mrufic, as of the cther f{ciences, fhould 
commence with the elements : which may 
be contidered, either phyfically, according 
te their generation and duration, or ma- 
thematicaliy, according to their menfura- 
tion or formation into intervals. He then 
proceeds to expiain the intervals both 
timple and compound, and enters minute- 
jy into all their properties, connections, 
and bearings ; adding general rules con- 
cerning their employment, both in har- 
mony and melody, in the courfe of which 
he introduces many just and fenfible re- 
matks on harmonic combination. 
ing of chords i general, he confiders them 
directly and inverlely, asemployed by fuf- 
penfion, anticipation, and tranfition; and 
mm his remarks on accidental chords, 
mezkes a judicious diftinétion between the 
fyftems of Rameau, Marpurg, and Kirn- 
_herger. Thefe parts of his general fub- 
jet occupy the firft feven chapters of his 
work: the eighth chapter treats of the 
fignatures ot chords in thorough bafs, in 
which the author is particularly explana- 
tory, and perfpicuous ; and develapes, to 
the fatisfa€tion of the ftudent, whatever in 
this ftage of his advancement it be- 
comes neceffary for him to know. In the 
fucceeding chapter he leads the reader to 
the confideration of cadences, perfect, im- 
perfect, interrupted and uninterrupted ; 
and treats this department of his fubject 
with that fulnefs and that addrefs which 
evince him to be thoroughly mafter of the 
tafk he has undertaken, and qualified to 
impart that ample information which the 
Englifh tyro has long wanted. Ina word, 
this treatife, while it fmooths the road to 
proficiency, refleéts much honour on the 
talents and proteffional learning of Mr. 
Kollman. A work which fo copioufly em- 
braces its fubieét ; and the firft volume of 
which comprizes one hundred and twenty 
eight pages, neceflarily comprehends too 
many intereiting particulars tor us to pro- 
ceed any further in our remarks at pre- 
fent ; but, in juftice to the author and 
the mufical public, we thal] refume them 
in our following numbers, 
Toe neco Hours of Love, a Colleétion of Canzo- 
nets; containing Morning, Noon, Evening, 
and Night. Particularly adapted for the 
Harp or Piano-Forte, with an Accompani- 
ment for the Violing or German Flute. Compofed 
by Mr. Hook, Op. gi. 4s. Lavenu. 
Mr. Hook, in this his ninety firft 
work, has difplayed a warmth and flo- 
Fidity of fancy, which argue him to be 
amply qualified to rezeww his Hours of Love. 
Review of New Mufical Publications. 
‘Exeat='S 
[ June 
The former production under this title 
procured this ingenious and voluminous 
compofer fo much credit that we do not 
wonder at his being at length tempted to 
write a counterpart. We have perufed 
the preient publication with uncommon 
pleature. Many of the ideas.are ftriking- 
ly novel; and, indeed, a mof pleafing 
chain of melody runs through each of the 
four canzonets, while the accompaniments 
are every where calculated to heighten 
and enrich the general effect. 
“© Why bufy Boys,” a Sonnet, compofed by Wil- 
fiam Linley, and fung at the Dilletante Concerts, 
by Matter Elliot. 1s. 6d. F- Page. 
This agreeable little fonnet opens with 
arecitative ; after which it proceeds in 
the manner of a ballad, repeating the 
{ame melody to three fucceflive verfes. 
The recitative is expreffively conceived, 
and the air is natural, eafy, and novel. 
The unexpected, yet well-prepared, mo- 
dulation into the third minor ot the origi- 
nal key, is at once uneommon and parti- 
cularly happy. 
The Bird Symphony, as performed on the Flagelet 
by Mr, Ling, in Harlequin Highlander, or 
Sawney Bean’s Cave. Compofed and arranged 
for ihe Piano-Forte, by Mr. Sanderfon. 1s. 
Riley. 
The Bird Symphony is an ingenious 
imitation of the various notes and melo- 
dies of the feathered tribe. Mr. Sander- 
fon has, with great judgment, avoided all 
modulation ; and has introduced the feve- 
ral birds in that order which beft contrafts 
and fets off their various warblings. We 
have heard this fymphony in the band, 
and could not but receive much pleafure 
from the natural and {weetly-varied effect 
of its imitative paflages. 
Three Canzonets for one and two Voices, with ar 
Accompaniment for the Piana- Forte, humbly 
dedicated to Lady Bramley, by John James 
Athley. 5s. Skillern. 
Mr. Afhley has difplayed fome talent, 
and a refpectable degree of {cience in 
thefe canzouets. The firft, the words of 
which are taken from the old ballad, 
‘s Why heaves my fond bofom,’’ beau- 
tifully fet by the late Dr. Howard, pre- 
fents a fmooth and eafly fucceflion of 
ideas, and blends the two voices, for 
which it is compofed, with addrefs and 
effeét, The fecond canzonet is for a tingle 
voice. The melody is pleafing, and the 
accompaniment well imagined. The third 
is alfo tor a fingle voice; is agreeable in 
its air, and bears the ftamp of fancy and 
judgment. . 
A news 
