Our time of progress is often specially designated a critical and even hypercritical period. But whilst so much deep thought and true feeling have flowed from the pens of profound thinkers in every direction, it has occurred to no one to attack a barbarous remnant of bygone times in music. The idea might have appalled one less deeply convinced than myself. But one must have courage to enter the lists for what one has well weighed and found to be true. I propose to deal here with no less a matter than the entire abolition of all part-repetition in music—e.g., in symphonies, sonatas, quartets, &c. Can there be anything more inconsistent than these stereotyped repetitions? The artist creates a work from his innermost soul, and places it before us in its entirety so that we might behold the same mirage which enchanted his mind, and follow him with the unabated energy of all our mental faculties. He receives us, as it were, upon his Mephistophelian mantle, and carries us in a trice across giddy heights and rugged rocks, over charming valleys, purling brooks, and roaring torrents. He transports us to the pinnacle of joy, and anon dashes into the abyss of sorrow, thrilling us with the ever-changing kaleidoscope of human emotions. Happy is he whose receptive powers can arouse that sympathy which warms into enthusiasm for the master's vision of the ideal. He approaches nearest to the creating genius.

To make known to the public some mechanical apparatus which will facilitate vocal culture, to demonstrate the difficulties attending the latter, and to point out the means best adapted to overcome them, is the scope of the present lecture. The long experience I have had in teaching will thus, I hope, prove of service to others who are earnestly working and seeking improvement. It is true that theory and principles can be learnt from books, but it is also true that these are as numerous and varied as the sounds on which they treat. Every teacher has his own method of imparting science and his own individuality in enforcing it. I do not wish to condemn these teachings, or to fix a theory upon the formation of the sounds based upon anotomical and physiological principles; but to suggest opportunities for those who desire successful training in this difficult science, now neglected by so many in some of the most essential points; and I propose to find the cause of the deplorable disparity of tone in many fine artistic voices of our days, which, in youth, from natural gifts promised a bright career in art, whereas they were subsequently rapidly lost to fame. My object is to review briefly the difficulties attending the study of vocal culture, and to suggest how they may be overcome, adding the latest results of modern science, and my own personal experience.

In a former paper read before you on this subject of Musical Æsthetics, I had to content myself with a simple review of the theories of certain of the most prominent writers, past and contemporary. In making my conspectus I was led to deal more particularly with the little work by Dr. Hanslick that has made such great Stir in the musical literary world of late years; but I am afraid I reserved too much any decided opinion of my own on this vexed question; did not point my moral sharply enough, or, in other words, attempt sufficiently to fix the precise standpoint from which, to my thinking, these antagonistic theories should be viewed, and, if possible, some settlement of the question arrived at. In re-opening discussion on this theme, while endeavouring to define the subject a little more clearly, I cannot pretend—I trust it may not be expected of me—in the space of a short paper to formulate a complete system of musical philosophy. There is one point, at least, I would have well regarded—namely, the bearing of the subject on practical art; its importance, not only to the speculative thinker, but to the musician also, whether creative, executant, or recipient.

The Hon. Secretary said he was very sorry to report that Mr. Baillie Hamilton was too seriously unwell to be able to appear before them that evening. Up to the last moment he had hoped to come, but was positively forbidden to do so by his medical attendant Mr. Baillie Hamilton had, however, sent a Vocalion, and one of his assistants was present who might give some information. Mr. Higgs thought it would be desirable that the instrument should be heard before any discussion took place.

The question is not unfrequently asked by musicians, “Of what value is the study of acoustics to music as an art”?

When our Honorary Secretary did me the honour to ask me to address you to-day, with his usual readiness of resource he kindly suggested the subject, which I have accepted with pleasure as one frequently misunderstood and under-rated, and supposed to have nothing to do with music as an art.

You are all aware that the “Musical Association” was established for the spread of musical knowledge. Up to the present time you have had eminent men capable of instructing you in various branches of science and art, and others who, like myself, have given you biographical sketches of celebrated musicians.

I offer no apology for introducing this subject to the Musical Association; it possesses sufficient interest to command attention—attention that I think it has not yet received. I do not pretend that my treatment of the subject will be at all adequate to its importance, nor do I come forward to advocate the cause of woman in musical art; she is, in the present day, quite capable of taking care of herself. It is only necessary to present a fair view of her position, to clear away misconception and prejudice, and it will be seen that the subject is by no means speculative, but very tangible and real; and its discussion will, I trust, be both interesting and profitable.

The importance of this subject, whatever the value of the work of any individual observer may be, must be manifest to all, for upon a right understanding of it depends the power of designing buildings of good acoustical proportions and wind instruments of all kinds, and the massing together to the greatest advantage (or perhaps we should say the least disadvantage) of large numbers of singers and instrumentalists. In the highest regions of physical science, also, the determination of the velocity of sound has had its place, not only for its own sake, but as a means to an end of great importance. However, it will not be necessary for our purpose to do more than touch upon this point.