significance, both to poetry and to prose. In the absence of these requisites, the ear would suffer from the most tedious monotony; the subject would fail to interest us; and the very meaning of an author would often be unintelligible.

Accent has been termed the essence of words, inasmuch as it serves, in innumerable instances, to fix their meaning. The words desert and conjure, for instance, if uttered without any accentual distinction, will convey no definite idea. Place an accent on either syllable, and the ambiguity will be removed: transfer the accent to the remaining syllable, and the meaning will be changed though equally obvious as before. Instances of a less striking character, where nouns are converted into verbs and verbs into nouns, by means of accent, will readily suggest themselves to the reader.*

Emphasis is still more important to the meaning of sentences, than accent is to the signification of words. Of this, the old interrogativė, “Shall you ride to town to day," furnishes a standing illustration. By placing an emphasis upon each of the words successively (excepting the preposition to), we obtain five different questions, requiring either in the affirmative or negative, as many corresponding answers.†

* To trănsfēr, a trănsfer-to convērse, cõnvěrse, &c.

The first of these answers, refers to a final decision; the second, to the person who is to go; the third, to the method of conveyance; the fourth, to the place of destination; and the fifth, to the time of starting.

But why need we dwell upon a subject which is so perfectly familiar? The importance of accent and emphasis to the significancy, interest, and power of language, will be readily acknowledged. That a neglect of these properties in vocal music, is not more generally discountenanced at the present day, may be attributed partly to a habit of endurance; and partly, perhaps, to those abuses of rhythm in instrumental execution,* which vocalists are prone to imitate: but principally, we apprehend, to the fact that in our vocal performances, the words are so seldom distinctly articulated. Mere habit will often reconcile us, in matters of taste, to things which would otherwise be disagreeable: and especially are we prone to admire and to imitate without sufficient reason, everything which affords us occasional pleasure. But when the young pupil has so far advanced in the art of enunciation as to produce, while singing, a concatenation of syllables which are equally audible; it is then easy to understand that something farther is wanting to convert them into intelligible language. The case of the pupil at this juncture, is not dissimilar to that of the little urchin who is taking reading les

* The most prominent of these is, perhaps, a total neglect of the laws of accentuation, in favor of such emphases as are conventional among second-rate performers. This practice, though it secures the sanction of respectable names, is not in accordance with the principles of true philosophy, or sound criticism, Much less should it be suffered to give laws to vocal enunciation, when the language has any significancy.

sons in poetry or prose; and the general course of instruction in the two cases should be substantially the same.

Where the rhythm of the poetry corresponds with that of the music, as in the multitude of instances it is found to do, the claims of accent and emphasis are readily adjusted. The exceptions to this rule, form the chief difficulty in practice. In popular ballads, and especially in psalms and hymns, where the same music is applied successively to different stanzas, there is need of some care and discernment. Here, the safest course is to arbitrate between conflicting claims. If the subject-matter of the song is important, it should not be sacrificed by too rigid an adherence to musical rhythm: nor, on the other hand, should the rhythm of the music be wholly sacrificed to the claims of the subject-matter. In the secular department, the leaning is in favor of musical rhythm, because the themes of song are there comparatively unimportant; but in sacred music, particularly that of the church, the leaning is in favor of the themes, because these are ever to constitute the basis of the song. The style, in regard to accent and emphasis, ought, therefore, to be essentially different from that of the modern orchestra. In secular music, the words are often little more than an excuse for singing; while in sacred music, the sentiment of the text is to be illustrated and enforced, as by the power of ora

tory. A distinction so important as this should never be disregarded.

But finally, the exercises in accent and emphasis in connection with articulation and the other properties which have been considered in this chapter, should be so directed in a course of instruction, as to result in producing an accurate, forcible, yet free and easy style of enunciation. The utterance should not only be intelligible; it should seem to flow without labor or affectation. That all this requires specific knowledge, practical skill, and discriminating taste, is but another consideration added to the many in favor of a more thorough cultivation of the vocal

art.

CHAPTER III.

THE SUBJECT CONTINUED.

SECTION I.

OF EXPRESSION.

THE preceding properties of style, tone, intonation, time, articulation, accent and emphasis, embrace, as we have said, what relates to correct mechanical execution. But these alone will not suffice. A style may possess all the properties we have yet considered, and still be destitute of that which should have constituted its highest excellence. It may be exact, while deficient in character. The structure may be well formed, perfect and beautiful; it may seem to embrace all the mechanism required, and at the same time be destitute of true animation.

A shapeless mass may be so wrought by the sculptor, as to resemble the human form: but we ask something beside the nice proportions of symmetry, from even a countenance of marble. The historic painter, too, may select an excellent subject, and supply his canvas with well-conditioned personages; but if he wishes to rise above the merit of an or