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5. A Concise Treatise on Italian Singing, clucidated by rules,

observations, and examples, succeeded by a new Method

of Instruction, comprising scales, exercises, intervals, and

solfeggios, peculiarly arranged and harmonized; dedi-

cated to Thomas Broadwood, Esq. By G. Ferrari.

London.

351

XV. Mr. llorsley's New Compositions

371

XVI. The Thorough Bass Primer, containing explanations and ex-

amples of the rudiments of hármony; with fifty exercises.

By J. Burrowes. London. Chappell and Co.

1. Arcana Musicæ, or a variety of curious and entertaining

musical problems, with their solutions, in the most useful

and important parts of the science, calculated to facilitate

the study of music to young pupils, and save much time

and trouble to the master. By J. Jousse, professor of

music, and author of several theoretical works. London.

Chappell and Co.

VII. Six Progressive Sonatinas for the Piano Forte. Composed by

T. Howell. London. Power.

382

XVIII. Sacred Songs, by Thomas Moore, Esq. and Sir John Stevenson,

Mus. Doc. Loudoo. Power.

383

XIX. A Divertimento for the Piano Forte, with an accompaniment

for the flute ad libitum, from the favourite air in Rossini's

Opera of Il Barbiere di Siviglia, bg T. Latour, Pianiste to

his Royal Highness the Prince Regent. London. Chap-

pell and Co.

387

XX. A Sixth Air, with variations for the Piano Forte. By J. T.

Burrowes. London. Chappell and Co.

388

XXI. The Sale of Loves, a Ballad, by Thomas Moore, Esq. Lon-

don. Power:

389

XXII. Essais sur differentes caracteres pour le piano forte par

Kalkhrenner. Books 1 and 2. London. Chappell and Co. 391

XXIII. An Introduction aud Polonoise for the Piano Forte, by H. J.

Bertini. London. Chappell and Co.

1. La Beile Ecossoise, divertimento for the Piano Forte, com-

posed by James Calkin. London. Chappell and Co. 393

XXIV. Preludes in a progressive style for the Piano Forte. Composed

for the use of Young Ladies, by T. Latour. London.

Chappell and Co.

1. Twenty-six Preludes or short Introductions in the principal

Major and Minor Keys for the Piano Forte. Composed

by J. B. Cramer. London. Chappell and Co. and Cle-

menti and Co.

394

XXV. The Peri pardoned, by Dr. John Clarke, of Cambridge.-

London. Power.

1. We part,

ever part, to night ! recitative and air, by J.

Macdonald Harris. London. Power.

2. The Feast of Roses, by llenry R. Bishop. London. Power.

3. Her hands were clasped, recitative and air, by Thomas Att-

wood. London. Power.

397

XXVI. Grecian Air, with Variations for the Piano Forte. By Samuel

Welibe, jun. London.

398

XXVII. A slight Sketch of the present state of Music in London 400

Art.

Page

I. ELEMENTS OF VOCAL SCIENCE ..

409

II. Mr. Taylor in answer to I. S. H.

419

III. On the Objects of Musical Education

42

IV. On the Association of Professors with Amateurs

429

V. Meinoir of M. Gretry

438

VI. On the Poetry of Part Songs

418

VII. The Vocal Concerts

458

VIII. Memoir of Mr. Greatorex

466

IX. Miss Travis

470

X. A new, entertaining, and instructive Game of Musical Cha-

racters; by which a ready and correct knowledge of time, the

names of the notes in the Bass and 'Treble cless, the intervals

and formation of the signatures in the Major and Minor Keys,

with the use and meaning of the other marks and chatacters,

commonly used in the Science of Music, inay be obtained.

By T. Goodban. London. Goulding, D’Almaine, Potter

and Co.

478

XI. Palestine-a sacred Oratorio ; the voice parts in score, the in-

strumental adapted for the Piano Forte. By Wm. Crotch,

Mus. Doc. Professor of Music in the University of Oxford.

London. Messrs. Birchall and Co. and Chappell and Co. 478

XII. 1. Remarks on the present state of Musical Instruction, with

extracts from various learned authorities, in which the great

need of a new order of musical designation, calculated to ac-

celerate the progress of Students, is stated, with the definition

of a series of Diagrams, by means of which this important ob.

ject is accomplished, and the whole Science exlibited in a

perspicuous and simultaneous view. By J. Relfe, Musician

in Ordinary to his Majesty. London. Goulding and Co.

2. A Muschedula, or Music Scroll, exhibiting an epitome of

the whole Science of Music. By J. Relfe. London. Goul.

ding and Co.

495

XIII. 1. The triumphs of Oriana, a collection of Madrigals for five or

six voices, written and composed in honor of Queen Elizabeth,

by the most eminent composers of that age; published and

dedicated to the Earl of Nottingham, by Thomas Morley,

1601.

2. Now first published in score, and inscribed (by permission)

with the utmost respect to Hugh, Earl of Fortescue, by

Wm. Hawes, gentleman of his Majesty's chapels royal,

almoner, vicar choral, and master of the choristers of St.

Paul's Cathedral. London: Printed for the Editor. 500

PLAN OF THE WORK.

The cultivation of Music has been carried to such a degree of perfection in this country, it has become so universally necessary among the acquirements of education, it occupies so considerable a portion of the time, thoughts, and engagements of youth, maturity, and age, the English public is indebted to the science for so much of elegant amusement and private life for so much of individual solace and delight, that it is rather matter of wonder we have no periodical work exclusively devoted to the subject, than of apology for the introduction of our present publication. Perhaps it may have appeared on a distant and casual contemplation of the purposes and powers of music, that but a limited foundation and slender materials could be found whereon to build an useful superstructure of such a kind. The principles of the art might be thought to lie within a small compass, and to be illustrated better by musical than by verbal composition. The essays we already possess have added little or nothing to the stock of musical knowledge, if we except a few (and they are a very few)regular treatises on the more abstruse branches. Practical musicians very much disregard such attempts. It should almost seem that the symbols by which we express the objects of our other faculties are considered to be inapplicable to our apprehension of sounds, and that words in their combinations could do nothing, either to improve the practice or to increase the enjoyment of the art. It cannot be that literature and this delightful occupation are seldom united; they are both the consistent and dignified pursuits of leisure, affluence, and elegance of mind. It is not indeed a necessary property of intellect to combine the perfections of the scholar and the musician; but in this our refined

age such accomplishment is by no means uncommon, and perhaps it is the attribute of a stern cast of thought, or of a still more stern

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