Music And The Masonic Ritual—No. Ii.

curious effects that we have the most cause to regret the loss of , and as we have no idea of its efficacy , we deeply deplore the modus operandi being numbered among the things that were , for it would be of essential service to all good men M'ho are , at times , suffering from the practice of dunning . Roger seriously tells us that one Palma , a Neapolitan musiciancalmed an irritated creditor by playing different

, airs to him ( p . 3 < l-2 ) . Alas ! that we cannot " go anel do likeivise . " It may reasonably be asked by what kind of music did the ancients produce the wonderful effects before alluded , to 1 The answ'er is—by melody and harmony , but chiefl y by the former ; and as we frequently hear our brethren confound one of theses pecies of music with tho other , we claim the indulgence of our readers Avhile we parentheticall

y point out the difference between them . Melody is a succession of single sounds performed by one voice , or instrument ; yet a number of persons or instruments may equally perform a melody ; but then it is said to be sung , or played , in unison , to distinguish it from harmony . Melody is accounted the soul of music , and there is but little doubt that through its form music

speaks more forcibly to the hearts ofthe multitude than by that of its sister , harmony . And this may be easily admitted , if we call to mind the poAvers of the human voice , which admits of the production but of one sound at a time ; and that all persons can follow , imitate , or produce a similar series of sounds , establishing a sympathy betiveen the singer and the hearer , or , in the words of Moore , who has beautifully

said" Oh ! there are looks and tones that dart An instant sunshine through the heart , As if the soul thai minute caught Some treasure it through life had sought ; As if the very lips and eyes , Predestined to have all our sighs , And iiCA'cr lie forgot again , Sparkled and spoke before us then !"

To account for this philosophically , we must allow that eacli note has au attendant number of vibrations ( a fact well known ) , and a demonstration well attested assures us that a certain number ' of vibrations , in a second , -will always produce the same note , whatever be the instrument used to obtain them ( p . 07 ) . * Prom this fact it AA'ill easily be deduced that the simplest form of multi plying the

power of a melody is by adding more voices , or instruments , which being in unison must each produce the same number of vibrations in a given time . Now harmony is the exact reverse of this , as it consists of two or more different sounds being heard simultaneously , and as they are not duplicates of fche same sound , or unisons—consequently the vibrations attendant on each of them must be different to the others , and this difference is further increased in a certain ratio ,