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He thus speaks of the regard due to the opinions of others on this subject.

"If those whom we esteem pious, are conscientiously principled against such recreations, they are wounded by our engaging in them. Now to say, that every man ought to leave his neighbour to stand or fall by himself, and accordingly to suffer no feeling to occupy the bosom in relation to his conduct in these things, is to waive the matter on a ground very foreign from the economy of Christianity. Christian can do this. It is not the single interest of the private individu

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al he has in view: it is that of the cause of the Redeemer. - This he has made his own: He feels himself wronged by an injury which it sustains. That same diffusive charity, which sinks in his sight little sectarian distinctions, and teaches him to love all who love the Lord Jesus Christ in sincerity,' renders him susceptible of feeling, whenever the cause of religion is dishonoured. Charity owes its existence to a love of the Redeemer; and is inseparable from a love of his cause, or of those who are supposed to be enlisted in it. To suppose the Christian, then, unaffected by that which de believes detrimental to the influence of true religion, is to suppose an impossibility. We are not without analogy of the same thing in civil communities: Whatever public sentiment has determined to be a matter of reproach, or mischievous to the welfare of society. is proscribed: even although there may be no written law in relation to it: And he who violates such a tacit regulation, is justly considered an of fender against the better feelings of the community. And it is no palliation of his fault, that some others may be loose enough to countenance him in it: This public sentiment is derived from the more virtuous, and not the more loose portion of society. Now the Church of Jesus Christ is a community, whose express object is to honour their Head: the views which are entertained by those whose acknowledged piety has given them a prominence in it, are entitled to our respect: no matter what their birth, worldly rank, or power, may be. The feelings or anxieties which are called into play here, are far more intense, because

they relate to concerns of far more importance,-than those of the former

case.

"An independence of action, and a choice of practical principles, is an absurdity of terms when applied to a Christian profession. The moment this is assumed, the professor becomes amenable to all the laws of Expediency and Charity. He will find that they bear on many an act which may be right in itself, but which is wholly altered in its character by that bearing. The question of abstracted rectitude' never can belong to the department of Christian casuistry." pp. 130-133.

After describing the tendency of these amusements to destroy devotional feelings, he subjoins the following remarks.

"There are certainly professors of religion who know little or no difference in the nature of their experience: and who tell us, accordingly, that they discover no alteration in their frame of

mind after engaging in such recreations. - It is not easy to reason with such persons from the effect of changes which they have never felt: and still less easy to point out evils which they cannot comprehend. But he who has passed from death unto wife,' and who since that change has discovered in himself new inclinations, and has found new sources of happiness, is familiar with a difference in the religious frames of his mind plainly referable to his habits or employments. It is not hard for him to distinguish between acts the mere morality of which he may not be able to investigate, but the propriety or impropriety of which is obvious to him from their effect on himself. It is not saying too much to affirm that no one

can return from these amusements and

close the day with all that fervency of devotional exercise, with that undivided attention to the perusal of the word of God, and that diligent examination of his own heart, which will be the last daily exercise of the growing Christian. The scene in which he had engaged possessed a power of attraction which is not relinquished when the engagement is closed. It is over and over enacted, at least in many of its parts, by the effective exercise of fancy. The reflected picture is vivid, and perhaps long vivid, to the mind's eye, even where the reality is passed. This attraction was not derived from the power of a religious taste, but from inclinations which were wholly of a worldly nature: These, of course, are fed and cherished, and strengthened: And so far as they are so, they effectually militate against an opposite and holy temper.

"Now every one who is conversant with any thing of religious experience, well knows that a devotional and happy frame of mind is more easily lost than regained. It is, therefore, not a momentary effect which is produced in the present instance. The coldness and insensibility which now attend the performance of religious duties, will either be followed by the pains of remorse, or they will increase in intensity by continuance. One link in the chain of evil, is succeeded by another. The feelings and character undergo a new modification. The comfort of religion is forgotten, or only remembered in its vacancy, as a thing that is passed. Conscience loses its tenderDevotion itself is a matter of form and constraint. The spirit and beauty of holiness are visible no more.

ness.

Such has been the fearful history of many a Christian, whose first backsliding step was taken in 'innocent amusements." pp. 141-144.

MUSICA SACRA, or Utica and Springfield Collections United. Consisting of Psalm and Hymn Tunes, Anthems, and Chants, arranged for two, three, or four voices, with a figured base, for the organ or piano forte By THOMAS HASTINGS, and SOLOMON WARRINER. Fifth revised edition. Utica: Printed and published by William Williams. 1825.

We have examined the above publication with no small degree of gratification, as we are fully inclined to believe it contains such a collection of sacred music as has long been a desideratum with two classes, comprising a considerable portion of the religious public. The classes refer red to are, first, such as have made considerable progress in the cultiva

tion of refined music in their choirs; secondly, such as have the disposition, but want leisure or the means for attaining correctness of harmony and expression in their choral performances.

The present differs from the former editions of the same work, in several particulars of no small moment. The first is the increased number of tunes of common or simple airs, with a harmony so very plain and unpretending as scarcely to arrest the attention of the amateur, but which is extremely chaste, and well adapted to the low state of vocal talent that is very observable in multitudes of congregations throughout the country. The second is the addition of some parochial tunes, and a choice number of set pieces, of a character sufficiently refined and scientific to gratify the most fastidious. It differs also from the former in being comparatively free from errors, which, for several previous editions, had been accumulating; and in the exclusion of some pieces which could be said to belong to neither of the classes above pointed out.

But an important feature of the work, and one which renders it proper to be noticed in this journal, (whilst the press is annually groaning with thousands of copies of rearranged, worn out, and resuscitated music,) is the addition of about fifty pieces, absolutely new in this country, the most of which appear to us to be of an uncommonly high character Many of these are the productions of modern European masters of celebrity, and a few are from the pen of one of the compilers.

As to the music in general, we notice with peculiar pleasure that, whilst the music of several other collections has been scientifically arranged with reference to the powers of the organ, the music in the volume before us has been arranged with more special reference to the difficulties of vocal execution, and the capability of vocal expression. Both of the compilers have, for the most of fifteen years past, been engaged (and we think successfully and honourably engaged) in the active cultivation of church music. They have been distinguished for their practical knowledge, skill, taste, and discrimination; and in compiling the present edition of their work, they have evidently spared no pains to turn these qualifications to the best account. There is a multitude of nameless and apparently trifling particulars, which, taken together, go to make up what we would term excellence of style, and which are scarcely known or recognised, except by the practical vocalist; while to all who listen to the performance in which these are combined, the effect is obvious. To this purport we might instance Colchester, Elysium, Mear, Weymouth, Lowell, Rothwell, Eaton, and a large number of others, compared with the numerous different copies in use. Among the set pieces, witness, in like manner, Eighty-Eighth, Dying Christian, Dialogue Hymn, Christmas, Gently Lord; which, when the state of church music in our country is taken into view, must be acknowledged to be better harmonized than any copies that have hitherto appeared.

The parochial music, comprising more than two-thirds of the volume, embraces all the principal varieties of measure, which are found in the most approved psalm and hymn books. Under the head of Parochial Psalmody, the compilers have instituted several distinctions with regard to practical adaptation, the importance of which has never before been sufficiently shown and insisted on in a work of this kind. For these we must refer the reader to the work itself. We cannot forbear, however, to select from their remarks on the above subject, the following passage :-" With few exceptions, which are noticed in the body of the work, the tunes of this large class" (Parochial Music) " will be 1826.-No. Ι.

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found to embrace sufficient variety, and to be sufficiently easy of execution, to answer all the ordinary purposes of psalmody; but as each of them is calculated (by a common though somewhat questionable license) to be sung in a great variety of stanzas, the business of practical adaptation becomes an object of immense importance, and clergymen, teachers, and choristers cannot be stow too much attention upon it."

To the sentiment implied in the marked passage of the parenthesis above, in favour of particular adaptation, we joyfully subscribe. But so long as the greater part of clergymen, choristers, and even teachers, remain so palpably deficient in musical taste, how can it be expected that a suitable adaptation of music will be made to the words, or of words to the music, so as even to exempt us from the pain of sometimes hearing the doxology appended to a sombre hymn, or performed in a tune of the minor key?

From this view of the subject it is obvious that the greater the scarcity of tasteful performers, the greater is the need of that particular adaptation we observe in set pieces. If all performers understood musical expression, even a tune of doubtful character would be partly adapted in the performance, by being varied to suit the variation of sentiment, so that we should no longer require the aid of those way marks commonly found in set pieces, and no longer be tortured with unmeaning sounds. We conceive it almost time that the meed of superior excellence should cease to be awarded to such tunes us are of that doubtful character, or are so destitute of character that they may be sung indifferently in a hundred different sets of words, con taining perhaps as many different shades of sentiment. There is a language in music, without which is is wholly unfit for devotional or other purposes. If this language is perverted, its incongruities of ex

pression are manifest. But if every melody has an appropriate relation to some particular sentiment, in preference to every other shade of sentiment how shall that peculiar language, be understood, when the melody is applied to any and every other sentiment but its own? But

a glance at the real state of the art in our country, is sufficient to induce us to drop this subject. We cannot, however, but be pleased with the contemplation of one fact; which is, that the attention devoted to this subject is increasing, and that the rudiments of taste are more conspicuous in many places within the sphere of our acquaintance, than has ever before been the case; and we cannot but hope that the time may soon come when enlightened Christians may be induced to take the command in this business, and not feel themselves degraded by daring to be unfashionable.

The subject of adaptation leads us to notice a few faults in this work, which, though they do not detract from its scientific merits, seem to be aberrations from that high standard of taste which Mr. Hastings has been instrumental in erecting. We refer to his selection of words for some of those parochial tunes which, from their structure, are calculated for general adaptation. Now, we make bold to say that his selection of words in this edition is not so happy as in the former ones, as might be instanced in Jersey, Vienna, and Mansfield; and that, in those tunes which have in this edition a different set of words from those in the former, the change is far from doing honour to his taste. Among the latter we more particularly notice German Hymn, Walworth, Wesley Chapel, and St. Philip. But as an outrage upon all attempts at adaptation intended for the public eye, (we mean no disparagement to the Musiça Sacra, it being the same in this as in other compilations,) we would instance Tamworth, to which are applied the words "Guide me, O

thou great Jehovah." What modest pilgrim would think of making a respectful and melting petition to Him whose very throne is majesty, in that boisterous manner which is better suited to the taking by assault than to asking a gratuitous favour.

The harmony which the compilers have introduced into the old tunes may, in most instances, better please the ear than the received harmony; yet we would take this occasion to express the objection we feel to the great license so frequently taken by the publishers of music in this country, of changing the harmonies, and even the airs, of the tunes of celebrated masters, which, for their great excellence and purity, as well as for their universal reception into the praises of the churches, may justly be termed classical. It is desirable that these should be preserved untouched, as the never-varying standards of taste. The license which is taken by publishers of correct musical science and taste, moreover, is made the precedent on which every pretender sets forth his corrections and emendations, to pervert the airs of eminent composers, and the harmonies established by usage, and to corrupt, so far as his influence extends, the taste of the public. For these reasons we would inquire, whether innovation and novelty ought not to be repressed by compilers and editors so justly celebrated as those whom we are reviewing? The proper theatre for the exercise of talent lies in the composition of original airs and harmonies; and here we hail with joy the acquisitions we have received from Mr. H. to the music of the sanctuary. Let Homer be preserved in his original simplicity; let Virgil pour forth his numbers still, in all the gracefulness with which they fell from his lips; and if any modern must explore the field of epic poetry, let him return, not with pretended improvements upon the standards of all antiquity, but with his own work, that, for its ability and taste, shall descend to posterity, a companion and rival of theirs.

we

Among the new pieces which strike us as peculiarly fine, would notice Immortality, by Meyer, Austria, by Mozart, Veni Creator, Portland, Medfield, Doddridge, and Pittsfield, by Mather; Mansfield, by Crotch; Acceptance, a sweet minor, by Handel; St Austin and Asylum, by Horsley; Orinburgh, by Haydn; Gratitude, by Shield; Park-street, by Venua; Salisbury, anon.; Protection, by Haydn; Pergolesi, by an Italian of that name; Dunbar, by Corelli; Seville, by Woelf; Invitation, from Gardiner's Melodies; Florence, by Viotti.

Among those which do great credit to the American muse, (although we have no great predilection in favour of American music in gene

ral,) we would rank Dartmouth, by L. Mason of Savannah; Ralston, Killingworth, Sandwich, Communion, Resurrection, Fraternity, Inspiration, Saints' Rest, and Installation, by T. Hastings; the last three of which we think peculiarly excellent, and fine specimens for illustrating our ideas of particular adapta tion.

The introductory part, containing the rudiments, which seems to embody most of the rules in the Musical Reader of Mr.Hastings, is better adapted to the use of beginners, and all classes of vocalists, than those in any compilation of music we have yet seen. On the whole, we congratulate the religious public on their being put in possession of this improved edition of so valuable a work.

LITERARY AND PHILOSOPHICAL INTELLIGENCE.

NEW PERIODICAL WORKS.-T. B. Wait & Son propose publishing at Boston, a "Journal of Education," to be issued monthly, at $3 per annum; each number to contain 48 pages. - A publication to be called the "Troy Review, or Religious and Musical Repository," is about to be commenced at Troy.

Proposals are advertised at Ply mouth, for printing in a duodecimo volume, "Memoirs relative to the old Plymouth Colony, from its settlement in 1620, to the period when the colony was united to that of Massachusetts in 1692." The advertisement announces that the New England Memorial, by Secretary Morton, and the Old Colony Records, will be made the basis of the work, and the residue will be faithfully compiled from such historical productions as will afford an ample source for the purpose of a concise history of the colony.

Dr. Percival's Poem delivered before the Connecticut Alpha of the Phi Beta Kappa, is in press at Boston.

The Itinerary of General Lafayette's Travels in America, in four volumes, is publishing in Paris, where three of the volumes have run through several edi

tions. It is probable that M. Levasseur will publish, under the revision of the general, an extensive History of the Year's Residence of the Guest in the United States, with official documents.

Mr. Hurwitz, author of "Vindiciæ Hebraicæ," has in the press a volume of Moral Hebrew Tales, translated from ancient Hebrew works. To which will be prefixed a popular Essay on the still existing remains of the uninspired writings of the ancient Hebrew sages.

More than fifty thousand newspapers (a very large number of which are purchased and read by the labouring classes) are distributed every Sunday morning over a circle of forty miles diameter, of which London forms the centre.

From the Report of the Board of Directors of the University of Virginia it appears, that the institution commenced on the 7th of March last, with 40 students, and on the last day of September the number had increased to 116. In the school of Ancient Languages there were 55; in that of Modern Languages, 64: Mathematic 68

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