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

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... 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. 84 period ") prefer rather to lead than to follow the fashion by producing compo6itions formed upon the modele which have been bequeathed to U8 by those writers who have elevated the art to its present position. Here i# a 4 Sketch," by a clever mu#ician, of whom we have before made favourablemention, commendable alike for intention in the design, and for succes# in the e2recution. It commences with a brief Introduction, which lead# to a Minuet in which a bold and well marked subject is treated with much skill and effect, the left hand claiming its place in the movement a# sometbing more than a mere attendant upon the right. A good point is where, after the paseage of third#, a portion of the subject is alternated between the two hands. The Trio, in the subdominant, begin# with a placid theme, accompanied by staccato chord# in the right hand. A striking change of key afterwards occur# 8 alld some rather wide eaztensions are written, which must be practised with care, even by those accustomed to the unmerciful stretches demanded by many of the modern " Fantasia " composera Thi# piece is by no mean# ea#y to play; but Mr. Thorne has proved that he doe# not write for those who only purchase music cut to the received pattern * and we therefore recommend his work to the few who can appreciate it Allegro Scherzando. For the Pianoforte. Composed by J. H. Deane. MR. Deane writes well for his instrumente but the trifing nature of hi# "Allegro Scherzando" doe# Ilot warrant hi# extendingthe piece to eighteen pages. There i# actually no cessation of the triplets from beginning to end; and the almost eternal four-quaver accompaniment in the left hand becomes excessively tiresome. The passage# lie pleasantly under the hand, however-the harmonies are natural, and the changes of key generally well managed. The composition has almost the effect of a piece of eartempore playing, where continuity is more thought of than contrast and proportion. Bome is Bome, houteuer louly. Ballad. Written by Alaric A. Watt. Composed by R. Minton Taylor. A GusaEFuL and melodious ballad, somewhat over harmonised, however, and, consequently, scarcely as attractive a# it might have been had the composer been les# arxbitiou#. How difficult it iB to be simple ! In e2rperienced student#, for instance, cram a# many notes into a score a# they can get in, to make the harmony rich; and an experienced master CUt# half of them out a# a gardener cuts down trees-to strengthen tho#e that remain.