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m “ ihe lib e r a i / m e e t i n g , ” at Rochester should not be forgotten. On lhat oc casion the J a i l e h was directed to o- pen the prison doors, to all such as w e r e confined for D e b t ;— it was d o n e ; and the members of th ; meeting im- mediately made up the a m o u n t , by voluntary subscriptions. W e hope? this may operate as a striking exam ple, to all kucli as have tlie m o d e s t y or effrontery to s a y , “ I am better than thou” ! !! B a n k s .— T h e Bank mania , rages at this time with unabnted fury in the' C i t y of Albany, and should this d i s ease continue, petty banking or shaving establishments will soon abound in greater numbers through the country, than dry goods stores so m e years ago. ~ W e have r e c e ived th e sixth nura- ber o f “ T h e gencsce Farm e r . ” This paper appears to be w e l l sustained by its Editors, and had not useful reading b e c o m e obsolete among too many of o u r farmers, w e might anticipate the m ) 3 t happy results. H I S T O R Y O F M U S I C . The first t r a c e s o f m u s ic are to be found in Egypt, where musical instru- practically, as Pythagoras, Plato, Aris totle, Aristoxenus, Eucliu, and many others. Pythagoras is; c e lebrated for 0v- X ------- — - ------ ----- ----------- - J ------ O --- ---- -- V ments, capable o f much variety andihio discoveries in this science ; muhe- expression, existed at a time when ly, for that o f m u s i c a l ratios, and the other nations w e r e in an uncivilized addition of an eighth string to the lyre, state. T h e invention o f the lyre is by The former o f t h e s e he is supposed j i • t i v t nn • • . i i • l /* .1 * YV111L.II C* jJiv/vi H O «.»»«Vv] ! l i 1 , lull r! 'I ILUIIUL/U It IU tl NCI tilCt*. ./illS- a still greater proof of the existence oi'b •.% n u s is tlie m o s t ancient writer on musical i n s t r u m e n t s amongst them a? . ii .- k . o f w h o s e w o r k s there are any a very early period is drawn from th uiins. E u c l i d followed the idea of figures o f an instrument said to be • • . hng'orns’ ratios, which ihe reduced presented on an obelisk, erected, ..> mathematical demonstrations. To is supposed, by S e s o s t r i s at Heliopu- fiiis list of G r e e k writers may be ad- lis. T h i s instiument, by m e a n s othled Niehom a c h u ^ , Gerasenus, Alypi- its neck, w a s capable, with only twojus, G a u d o n t i u s Bacchius senior, Ptol- strings, if tuned fourth*, o f furnishingVn»v *} n o ?ironomer, and Aristides that series o f sounds called hy the an-'Quiiwilian, w h o s e works are sti1! ex- cicnts a heptachord; and if tuned'tant. T h e s e w r o t e under the Roman fifths, o f producing an octave. \ s emperors, many o f whom cultivated me i s r a m e s , wnu unciwuvt; imiMt nijiuay uc it.i_is.unc-.* w uw, all their religious ceremonies, borrow- ins architecture, touches lightly on t i /» .t • m * _ j x l. . . i • * x » ___ . i .......... . ^ ^.11^ this u t ; also M n iiian u s Capella and B o a l n u * , Wiio wrote on ihe de cline o f t h c e m p iie . After them some ceniuric.*. elapsed IWore the science ed much from that people. T h a t the Greeks took their iirst i d e a s o f m u s ic from the E g y p t i a n s is clear fuom this ; that they ascribe t h c invention o f t h e ___ ___ _ . 4 lyre to Mercury, although they made [of m u s i c met v\ nil any particular at- Appollo to be the god o f music, and tention. • I n introduction into thc «**ave him that instrument to play upon.jt hir«*h ice prevented it fi-om fal- ?n no c o u n try w a s music s o much cul-jii,.r . like other arts, into total nrglecf. liisinuijental m u s i c was introduced tivated as in Greece. The muses, as M a n y important articles have been] well as Apollo, B a c c h u s , and other i j , /* ji ’ i y n h^ods and dcmiorods. practised or pro crowded out o f tins w e e k s paper tor ° T i • 1 1 moted it in s o m e wray or other. 1 heir thc W'ant of room. poets are supposed to have been like ----- -------- the Celtic and German bards, and the A^dote .— A pious lady, who lives not njscalds of Iseland and Scandinavia, th o u s a n d m iles from some placc, not lon^l w’ho went about singing their poems since, was listening to the tale of a gossip, in the streets, and the palaces of prin- who slated that she knew a man, who did ces. In this manner did Orpheus, not believe inGod or (he bible-when the first Homer, Hesiod, Sappho, and others exclaimed : “ La me ! It cant be Mr. ------- . recite their verses ; and in after times, can it]” naming a worthy and reject- on the institution of the games, feimo- ahle clergyman of another denomination, nides, Pindar, and other poets ce e- If ad she heard mch things talked of before? brated in public the exploits of tlie vic- ° J tors. The instruments known m the ^ time of Homer were the lyre, flute, T H E ECLIPfeC. I syrinx, and trumpet. The invention A cotcmporary informs us that owing to L f notation and musical characters is cloudy weather and a heavy snow storm ascribed to Terpander, a poet and mu- :that occui’red a b o u t them days, the eclipse sician, who flourished 671 years be- ^ o u l d not be seen. The news of this discove- fore Christ, We afterwards find phi- ^ y must he highly interesting to his readers, nOSOphers, as well as poets, among the as many probably, had supposed that l^ej n u m her of those who admired andcul- eclipse had been postponed on account °r|livated tlieoretieally as well as tho weather. into the publi j service of th'* church under C o n s t a n t i n e the great. The practice of c h a n t ing the psalms was begun in the wc*U rn churches by St. Ambrose,about 3 5 0 years after C h r i s t ; hree hundred years after,the method of chanting was improved by St. Grego ry the Great. It was probably intro duced into E n g l a n d hy St. Augustine, and greatly im p r o v e d by St. Dunslan. T h e use o f t h e organ probably com menced in the G r e e k church, where it was called hydraulicon, or thc water- organ. T h e tirst organ k n o w n in Eu rope wras sent as a present to King Pepin from the em p e r o r Constantine Copornym u s . It came into general use in France, Germany, and Eiv gland, in the tenth century. Soon af ter this, m u s i c began again to be culti vated as a cien c e , particularly in Ital\. where Guido, a m o n k o f Arezzo, first conceived the i d e a of c o u n terpoint, or the division o f m u s i c into parts h'
