Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Ar02700
Let then the profound musician applaud himself , if he will , for having , by a mathematical concord , conciliated sounds that seemed to have the utmost antipathy to each other ; if they signify nothing , I shall compare them with those gestures of our British orators , which are only signs of life ; or to those artificial verses , which are only metred noise . It is true , 1 cannot tell why I am pleased with a fine piece of music , but what signifies that ? If I feel , it matters not whether lexpress my sensation by words or otherwise :
' Caufa latct , vis eft nQtiffima . The heart has its understanding independent of words ; and when it is once touched it has comprehended all . Moreover , as there are great things which words cannot reach , there are also delicate ones which words are as little capable . of expressing . This is very manifest , in what we are speaking of .
• Let us declare then that music , the best calculated in all its tones , the most geometric in its concords , if it should happen that , with these qualities , it had no signification or meaning , we could compare to nothing but a prism , which presents the most beautiful colours and forms no sort of . p icture . The first merit of music , dancing , and eloquence , is to be
conspicuous . Prima virtus perspicithas . What does it signify to me , that there is a beautiful edifice in that pleasant valley , if it is obscured with nig ht and darkness . We do not expect a meaning from each of them in particular : but they ought each of them to contribute towards one . If it is not a period , let it be a limb , a word , a syllable . Every tone , every modulation , every step , ought to lead to a sentiment , or to give us one .
2 d , The expressions ought to be just . It is the same in sentiments as in colours :, a demi-tint degrades them , makes them change their nature , or renders them equivocal . yl , They ought to be lively , fine , and delicate . . Every body is acquainted with the passions to a cei tain degree . When a man paints them . no farther than that , he has only the merit of an historian , of a servile imitator . We must go farther if we would seek for beautiful nature .
There are for music and dancing , as . well as for painting , beauties ¦ which artists call li g ht and transitory ; fine strokes that fall in the extasy of passion , sighs , tender accents , s . nd inclinations of the head . These are the touches that warm , awaken , and animate the mind . \ th , They ought to be easy and simple , all that looks like constraint , < jives pain , and fatigues us . Whoever looks on or hears , is the unison of him that speaks or acts : and it is not with impunity that we are spectators of his pain or trouble .
$ tb , Lastly , the expressions ought to be new , especially in music . Est natura homiiium novitatis avida . There is no art where the taste is more greedy and more haughty : judicium auriam superbmimum . The reason of this , no doubt , is our facility in taking the impression of sounds ; natura ad numeros ducimur . As the ear carries the sentiment to the heart , in all its force , a second impression is almost use-
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Ar02700
Let then the profound musician applaud himself , if he will , for having , by a mathematical concord , conciliated sounds that seemed to have the utmost antipathy to each other ; if they signify nothing , I shall compare them with those gestures of our British orators , which are only signs of life ; or to those artificial verses , which are only metred noise . It is true , 1 cannot tell why I am pleased with a fine piece of music , but what signifies that ? If I feel , it matters not whether lexpress my sensation by words or otherwise :
' Caufa latct , vis eft nQtiffima . The heart has its understanding independent of words ; and when it is once touched it has comprehended all . Moreover , as there are great things which words cannot reach , there are also delicate ones which words are as little capable . of expressing . This is very manifest , in what we are speaking of .
• Let us declare then that music , the best calculated in all its tones , the most geometric in its concords , if it should happen that , with these qualities , it had no signification or meaning , we could compare to nothing but a prism , which presents the most beautiful colours and forms no sort of . p icture . The first merit of music , dancing , and eloquence , is to be
conspicuous . Prima virtus perspicithas . What does it signify to me , that there is a beautiful edifice in that pleasant valley , if it is obscured with nig ht and darkness . We do not expect a meaning from each of them in particular : but they ought each of them to contribute towards one . If it is not a period , let it be a limb , a word , a syllable . Every tone , every modulation , every step , ought to lead to a sentiment , or to give us one .
2 d , The expressions ought to be just . It is the same in sentiments as in colours :, a demi-tint degrades them , makes them change their nature , or renders them equivocal . yl , They ought to be lively , fine , and delicate . . Every body is acquainted with the passions to a cei tain degree . When a man paints them . no farther than that , he has only the merit of an historian , of a servile imitator . We must go farther if we would seek for beautiful nature .
There are for music and dancing , as . well as for painting , beauties ¦ which artists call li g ht and transitory ; fine strokes that fall in the extasy of passion , sighs , tender accents , s . nd inclinations of the head . These are the touches that warm , awaken , and animate the mind . \ th , They ought to be easy and simple , all that looks like constraint , < jives pain , and fatigues us . Whoever looks on or hears , is the unison of him that speaks or acts : and it is not with impunity that we are spectators of his pain or trouble .
$ tb , Lastly , the expressions ought to be new , especially in music . Est natura homiiium novitatis avida . There is no art where the taste is more greedy and more haughty : judicium auriam superbmimum . The reason of this , no doubt , is our facility in taking the impression of sounds ; natura ad numeros ducimur . As the ear carries the sentiment to the heart , in all its force , a second impression is almost use-