"The immediate object," as we have formerly observed, "to be accomplished by making vocal music a branch of common education, is to cultivate one of the faculties which our Creator, in his wisdom, has seen fit to bestow upon us. To neglect it, is to imply that it was unnecessary that it is useless. It is to treat a noble gift in a manner which, in any other case, would be considered as disrespectful and ungrateful."

At the same time, singing is an important exercise to the lungs themselves. It may, indeed, be carried to excess, and injury has doubtless been done by singing too much, at improper hours of the day, or in a state of health which did not admit it. Pfeiffer recommends, that singing lessons should not be given before nine o'clock in the morning, nor after seven in the evening; never immediately before or after a full meal, nor after any other fatiguing exercise; and that in every lesson, one or more periods of rest should be allowed. He urges, as a very important caution, that the voice should not be exercised in singing, when, from the state of health, or the period of life, it is changed from its usual tones; and that all effort should be avoided, until it is again in a settled and healthy state. He states, that he has known voices ruined entirely, by neglecting this caution. He deems it also of great importance to watch those who have feeble lungs, to prevent them from singing after they are fatigued, and to suspend their lessons occasionally, if the effect is doubtful.

But how seldom do we find professed singers suffering from weakness of lungs? We have known more than one individual of feeble lungs, who derived strength from the use of the flute, and well regulated vocal exercises. The danger is much greater, as an able medical man has stated, from occasional efforts like those of the clergyman, than from habitual action to the extent of the power we possess; and the same author recommends the daily use of the voice as a most important means of preventing the evil effects of public speaking. Indeed we can discover no reason why the established principle, that every organ is strengthened by exercise, should not be correct when applied to the lungs.

But we cannot omit here the testimony of an eminent physician, which we have formerly quoted.

"It was the opinion of Dr Rush that young ladies especially, who by the customs of society are debarred from many kinds of salubrious exercise, should cultivate singing, not only as an accomplishment, but as a means of preserving health. He particularly insists that it should never be neglected in the education of females; and states, that besides its salutary operation in enabling them to soothe the cares of domestic life, and quiet sorrow by the united assistance of the sound and sentiment of a properly chosen song, it has a still more

direct and important effect. 'I here introduce a fact,' he remarks, 'which has been suggested to me by my profession; and that is, that the exercise of the organs of the breast by singing, contributes very much to defend them from those diseases to which the climate and other causes expose them. The Germans are seldom afflicted with consumptions, nor have I ever known but one instance of spitting blood among them. This I believe is in part occasioned by the strength which their lungs acquire, by exercising them frequently in vocal music; for this constitutes an essential branch of their education. The music-master of our academy has furnished me with an observation still more in favor of this opinion. He informed me that he had known several instances of persons, who were strongly disposed to consumption, who were restored to health by the exercise of their lungs in singing.""

While these are the immediate objects in the practice of vocal music, the ultimate object is that for which this faculty was bestowed. It is to acquire the most expressive language for the utterance of feeling- -a language in which we may lift up our hearts to God, and pour them forth in our hours of solitude, or in concert with our fellow-men—and thus elevate and cherish the noblest sentiments of our nature. Let us review its various applications.

"The first use of this language, which we think every Christian should deem a part of his duty-if it be indeed practicable and uot a mere matter of indifference, is to unite with our fellow-men in expressing our gratitude and love to our Heavenly Father. In doing this, we rouse and excite our own devotional feelings, and stir up each other to new life in the worship of God. For these purposes, God himself commanded the use of music in the Israelitish church. Indeed, he has written this law on the hearts of men. Scarcely a temple or a service has existed in the world, except among the Mahometans, in which music did not occupy an important place. In this view, the subject is of great importance. The defects in our church music are felt as well as admitted by all: and no thorough change can take place, but in acting on the rising generation.

"But it has other important uses, which are not so generally appreciated. There are periods of exhaustion, and there must be hours of relaxation and repose, in the life of all, from the prince to the peasant, when we need some innocent amusement to employ and interest without wearying, and to exclude improper occupations and this necessity is greater, in proportion as the intellect is less cultivated. There are moments of physical debility or moral discouragement, when the mind is almost incapable of operating upon itself. At such seasons, music is of great utility. It is perhaps the only employment which leaves the intellect wholly in re

pose, and on this account, is peculiarly important to literary men. In fact, it forms the relaxation of considerable numbers of those on the continent of Europe.*

"The popular, vocal music introduced of late years in Germany and Switzerland, is peculiarly adapted to these objects. Without being trifling, it is cheering and animated. Without being directly religious, or even didactic, it presents ordinary subjects under an aspect fitted to excite the nobler feelings, to elevate the thoughts above the world, and kindle the fire of devotion. It comprises songs on the various objects and phenomena of nature — the rising sun- the rolling thunder-the still evening- the rich harvest and presents something applicable to every circumstance of life. It thus associates cominon occurrences and objects with the most elevated feelings, and every view of nature calls forth the notes of pleasure, and the song of praise to its Author. Such exercises are undoubtedly often mechanical at first, but their repetition cultivates the feelings they describe. It leaves an impress of softness, and produces a tendency upwards, which are useful to all, and it is of peculiar importance to those for whom it is generally deemed superfluous, I mean, whose minds are chiefly occupied with providing for the immediate necessities of life, and who are conversant with its ruder elements.

"A passage of Vehrli's journal of his school at Hofwyl, presents a very interesting example of the influence of this species of music. 'The last autumn I was walking with my children by moonlight: "How beautiful the moon rises, and shines so red over the lake," said one of them. Another instantly began singing the hymn In still and cheerful glory She rises mild before us,'

and all joined in chorus. The last summer, at the approach of a storm, they often sung the hymn beginning

'God thunders, but I nothing fear.'

They selected, as appropriate to the marked divisions of time, the hymn which begins

The days that Heaven allows us here,
How swiftly do they fly;'

and sung it frequently at the close of the week.'

"The visitor at Hofwyl may often hear them sing, in going out or returning from their labors, especially at the unseasonable hours sometimes necessary for securing their crops in this variable cli

A distinguished professor of the island of Sicily, on hearing the sad tale of the influence of study on our literary men, inquired what were their amusements. I was only able to answer-None. He expressed his astonishment, and added, "No wonder they die of study." He informed me that he spent a given portion of the day in practising instrumental and vocal music; and thought he could not live without the relief which they afforded to his mind.

mate; and thus cheering their toils and elevating their thoughts and feelings above the little inconveniences and hardships they endured. A number of commissioners who visited the establishment, observe, that they, like most other strangers, could not hear the music of these pupils without the deepest emotion. The greater part of them know by heart a hundred religious and popular hymns. Vehrli himself observes, that he has uniformly found, that in proportion as vocal music was improved, a kind and devotional spirit was promoted among his pupils.

"In furnishing an amusement of this kind, we shall divert from others of a doubtful or injurious character. In giving young men such a means of innocent excitement, by music appropriate to their age and feelings, we diminish the temptation of resorting to stimulating liquors, and other questionable modes of producing cheerful

ness.

"But, aside from this benefit, music, of itself, has an effect which cannot be doubted, in softening and elevating the character. It diminishes the strength of the passions, by keeping them, for a time at least,, in a state of inaction. It counteracts them, by producing the opposite and softer feelings.

"In addition to this, the study of music, from its very nature, cultivates the habits of order, and obedience, and union. All must follow a precise rule; all must act together, and in obedience to a leader; and the habit acquired in one part of our pursuits, necessarily affects others.

"On all these accounts, vocal music has no small influence on school discipline. We were struck with the superior order and kindly aspect of the German schools in comparison with our own; and ascribed it not a little to the cultivation of music in them. Those who unite in singing, with their fellows and their master, will be more disposed to be kind to the one, and obedient to the other."

An objection is sometimes brought against the study of vocal music, from the abuses to which it is liable. It is often said to absorb too much of the time of young persons, and to draw off their attention from other pursuits. This would be equally true of any other interesting pursuit; and above all, of every amusement. But are the young to be excluded from everything that is pleasing, in order to prevent their acquiring a distaste for laborious duties, or from becoming impatient under suffering? Is it not, on the contrary, the order of Providence, to "set the good over against the evil" to prepare us to endure suffering, by the vigor of body, and elasticity of mind, which is produced by rational enjoyment? That this, like all other pursuits and enjoyments, should be duly regulated, cannot admit of a doubt. That it may be thus regulated, without sacrificing any of its important benefits, is fully proved in the schools of Germany.

But other abuses are feared. "The trifling and corrupting songs which form so large a part of the current music of the day, will be acquired, and thus more evil than good will be produced." But are corrupt songs more common than corrupt conversation, or corrupt books? Would not the same argument oblige us to withhold instruction in the English language? On the other hand, in proportion as it is more common to find corrupt or trifling songs invested with the charm of music, it is more important to present better sentiments, in the same attractive form to fill the memory with poetry and music which shall elevate the taste, and render everything of an opposite character disgusting.

It is important here to recollect the wide distinction between music accompanied by language, and that which is merely instrumental. Instrumental music is addressed only to the senses, and through them to the feelings. In the hands of the skilful musician, who has observed human nature, it may be employed to excite or allay any class of feelings. But when selected by a young person, for the purpose of amusement, it will inevitably be such as to gratify and excite the feelings already predominant, whatever be their nature; and will be as likely to enervate and corrupt, as to improve the character. On the other hand, vocal music, when properly selected, is a means of impressing the best sentiments, of cultivating the best feelings, expressed in appropriate language, by the combined influence of numbers and melody.

We have taken it for granted in all our remarks, that the music performed by the young should be selected, with as much care as the books they read. For the reasons we have mentioned, we should deem it as irrational to leave to a child the selection of books or songs, as to allow him to choose the drug which was most pleasant to his taste, from the shop of the apothecary. Let not those parents or teachers who are thus negligent, be surprised, if the key of knowledge which they give, becomes a curse instead of a blessing.

But the most serious objection urged against the introduction of vocal music as a branch of education, is, that it is impracticablethat instruction in singing must be reserved for that small proportion of the community, who have what is termed a natural ear," or "a natural voice" for music. We admit that great natural differences exist in the faculty for music, as in every other power of body and mind; but we do not know that even the phrenologist supposes that there are many individuals entirely destitute of the organ of tune. Music consists of a succession of sounds, divided into long and short, high and low, soft and loud. But who is there, that has hearing, that cannot distinguish the same variations in conversation that cannot perceive the difference between the