ely by the public de ive issues of paper, other Like many specious, and has Es true in one so that if you Five or ten to one, degrees; or, in heorem leads Mr. anding the circ That credit has too much, there s; and it is as anks have gone g credit. This ous, long, des the mere fact dependently of s it appears to It seems to us eat injustice to n, and while shades and color. The graces are the finishin if not freely and naturally employed, are the the picture. So too has it been justly observed 'performers, there is but one step from the subl lous. Where a great degree of excellence ca correctness is to be aimed at; the correctne other. But how often has one to endure the m of half formed and vain performers, to give mere notes placed before them. The great f in the teacher, though it is still too often t trusted to the training of those, of whom ther have discovered that more money can be m music than by beating the base drum or jingli the orchestra. If the multiplication of musical publications to be taken as evidence of the increasing at given to the divine art, then are we fast bec people. But we are not sure that it is not a contrary; that it does not arise from the injud which music is allowed to be generally taught impatience for display and novelty. We are patience and perseverance, which can alone music. The noble simplicity of the great ma despised and neglected for the fantastic, wild, ties, that have nothing to recommend them bu True, indeed, the number of our performers manufacture of Piano Fortes is carried to gre us. There are probably few manufactories w better instruments than those from the hands of manufacturers of instruments and of performe pushed; while the instrument is building, th taught. Woe to the reputation and pocket of pupil be not ready to astonish the friends a judgment on both instrument and performer former has received its last coat of varnish. We cannot condemn teachers, composers, suiting their labors to the knowledge, taste, their employers, and to the capacities of their as the first are compelled to resort to rapid, im our most accomplished instructers will aim a more than mechanical dexterity of voice an parents can be made to understand, that musi in execution alone, and that a Catalani or a Bee manufactured in " a quarter," we fear we shall to boast of our progress in musical taste. in our vicinity is ention which is >ming a musical evidence of the cious manner in and the feverish wanting in that sure success in ers is too often ad frothy novel heir difficulties large, and the perfection with h can produce ickering. The are alike hard be pupil must teacher, if the abled to pass soon as the Music seems to be the only science or art, in which we are contented with even less than mediocrity. The ability of performing a tune or a waltz, at the end of six weeks, can alone satisfy too many parents that the child is getting their money's worth; and at the end of another six weeks, Miss is sufficiently accomplished to be exhibited to admiring friends and inflict torture upon others. The master is dismissed; he is no longer needed; and the pupil devotes her morning hour to "practice," begins soon to babble of Rossini and Herz, and at the expiration of six months is a musical prodigy. With unwearied industry, mechanical skill is acquired; and she rises in the estimation of her (so styled) musical admirers, just in proportion to the facility obtained of performing in half an hour, what would have required from the composer just double the time. This excellent music, too, is, nine times out of ten, elicited from an instrument of such uncommon perfection, that it is always quoted as not having been tuned for some six or eight months. We have been often struck with the delicacy of the compliment bestowed on some really good and tasteful performer, who has been called to join or lead in a trio or quartette, at one of these uncommon instruments. The more it is out of tune, the greater the compliment, no doubt; thus affording greater opportunity to the artist to display his own talent, and remedy all mechanical imperfections. One of the pleasant occurrences, at what are styled sometimes musical parties, we are indebted for to the prevailing system of teaching and learning; we allude to the attempt of accomplished performers to comply with a request to join in a duett on one of these rare instruments, and with one of these rare musicians. It is not for such prodigies to be cramped and cribbed by the tyranny of time or tune; off they go, and gone too is the reputation of their companion, who is trammelled by certain awkward hieroglyphics often arrayed at the very commencement of his or her task. We do not believe that, of all the piano fortes in this our musical commonwealth, aye, even in the head-quarters of musical taste, as we have heard a certain city termed, more than one in every hundred is kept in decent condition; and yet both vocal and instrumental performers, of real science and skill, are continually urged to sit down to them. We much fear, that noise is often mistaken for music; that Auber is becoming more popular than Bellini; that drums and trumpets are a richer regale to the Yankee ear, than the most delicate and touching melodies. In regard to vocal music, we have to contend with other obstacles to improvement. We rarely have an opportunity of listening to a really first-rate singer. The study of all the musical works that were ever written, the most assiduous practice, and the most thorough instruction of the best masters, cannot give that peculiar style, feeling, expression, and taste, which are to be caught from the performances of a Malibran, a Grisi, or a Caradori. New beauties are not only brought out, but blemishes are made obvious, that the hour's lesson of the master cannot make sensible. Our fair performers, too, are not less liable to be dazzled by the glitter of bad examples; and to be induced to copy what is beyond their reach, or to affect expression where it is not felt. The shrug of the shoulder and the elevation of the eye-brow are natural to an Italian, but, when imitated by us, become grimace and affectation. We are too apt to be carried away by a stentorian voice, or the agility of running up and down scales, and to consider every singer from Paris or London as a model. The attainment of a good style in singing will be greatly facilitated by the study of the various publications, which have from time to time appeared under the sanction of Messrs. Mason and Webb; and we think the public are under great obligations to them for the judicious efforts they have made to improve our musical taste. We cannot but think, that, if they were allowed sufficient time, they would educate performers of a high order of excellence. Their present work is calculated for beginners, and contains many pleasing melodies arranged for two and three voices, with accompaniments not difficult of execution. We only regret, that the work has been published in so expensive a form, as will we fear much impede its introduction into families and schools. It would have been more acceptable, had it been printed as a second part of the "Odeon," and of uniform size. We trust that the compilers will continue their labors, and ere long give us a more elaborate work for performers of more advanced standing. 10. 1. An Address delivered before the Literary Societies of the University of Vermont, August 2, 1837, by GEORGE G. INGERSOLL. Burlington. Hiram Johnson & Co. 8vo. pp. 46. 2. A Lecture on Popular Education, by PHILIP LINDSLEY, D. D., President of the University of Nashville. Nashville. S. Nye & Co. 12mo. pp. 38. 3. An Address delivered before the American Whig and Cliosophic Societies of the College of New Jersey, September 26, 1837, by SAMUEL L. SOUTHARD, L. L. D. Princeton. Robert E. Horner. 8vo. pp. 50. 4. Inaugural Address delivered June 21st, 1837, by the Rev. WILLIAM M. WIGHTMAN, A. M., Professor of English Literature, Randolph Macon College. Richmond. James G. Walker. 8vo. pp. 16. 5. Address on the Moral Dignity of the Office of the Professional Teacher. By SAMUEL EELLS. Cincinnati. 8vo. pp. 24. 6. Valedictory Address delivered December 6th, 1837, at the Close of the Seventh Collegiate Year of the University of the State of Alabama, by ALVA WOODS, President of the University. Tuscaloosa. Marmaduke J. Slade. 8vo. pp. 52. 7. An Address delivered before the Philoclean and Peithesophian Societies of Rutgers College, July 18th, 1837. By DANIEL D. BARNARD. Albany. Hoffmann & White. 8vo. pp. 46. 8. The Introductory Discourse, and the Lectures delivered before the American Institute of Instruction, at Worcester, Mass., August, 1837. Boston. James Munroe & Co. 8vo. pp. 262. THE American Institute of Instruction has done much good, both directly and indirectly. Its meetings have been attended by teachers from every part of the country, who have been thus brought into contact and acquaintance with each other. No class of men need more the influence of social ties and professional sympathies than teachers; no class of men are more exposed to the narrowing consequences of solitary life and unsympathizing action; and it was a wise forecast and a sagacious perception of the real wants of teachers, that led to the formation of this Institute. The volumes which have been annually published are another good result of this combination of scattered talents. They give convincing proof that a vast amount of ability and learning is engaged in the business of educating the young; and, what perhaps may appear strange to one who has not reflected much upon the subject, that a professional enthusiasm as ardent, and at least as disinterested, as that of any other professional body in existence, animates the hearts of teachers, in the midst of their always exhausting and often thankless toils. In these volumes are many specimens of correct writing and clear thinking, - excellent models of composition. It would be unreasonable to expect this of all. Many teachers have hobbies which they take great delight in riding, sometimes with little judgment, and to the annoyance of others, who have per |