Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid--seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non--commercial purposes. Read more about Early Journal

more »

... ntent at http://about.jstor.org/participate--jstor/individuals/early-journal--content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not--for--profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact support@jstor.org. THE MUSICAL TIMES. THE MUSICAL TIMES. Continued from page 138. music, some of these are subjects of the highest interest, and of the most fundamental importance. Take, for example, the subject of scales, keys, modulation, and the like. Things of this nature should not be unknown to a single student of the art. They are even elementary. They lie at the very entrance of the musical temple. But these and various other topics, essentially connected with the very first principles of musical science, and too material to every learner-no less the practical than the theoretical-to be dispensed with, require a far more extended treatment than is compatible with the size of any small volume, and, indeed, presuppose other instructions which are connected with the science of Harmony and Composition. And besides, the intimate connection which the more immediately practical holds with the theoretical, always renders the one more or less defective without the other. A knowledge that involves the remoter principles of the art, and surveys the whole ground, is not only more satisfactory in itself, but likewise more available. It puts a different shading upon a man's acquisitions. It gives him additional power. It enables him to wield a stronger influence. And it is for this reason particularly that every teacher of music, in whatever department, should be advised by all means to avail himself of the information contained in this book. Were he but apprized of the additional ability with which it would enable him to execute, and the additional success which it would cause to fall upon his labors, he would not be without it. This work, moreover, is by no means theoretical in the sense of non-practical. The word theory seems rather an unfortunate one to be used in this connection. To the apprehension of many, it carries the idea of something that is far removed from the practical and the useful, and that is attended with no real, substantial advantages; while, in point of fact, the term, as employed in the present instance, designates a body of principles and a mass of knowledge which is practical in the highest degree, and which sustains very much the same relation to musical action, as a helm does to a ship, or a guide to a traveller, or sunbeams to all our operations in the external world. The amount of labour involved in the translation and editorial superintendence of a work like the present, can be duly appreciated only by those who have had personal experience in the same department of effort. Suffice it to say, however, it is such as would never have been undertaken by the present translator, but from the conviction stated at the beginning of this article, namely, that a work of this kind is seriously called for by the musical interests of the country. In a pecuniary point of view, it will be far less profitable (if, indeed, it should ever be profitable at all) than are the other musical works already Continued from page 138.