ADVANCEMENT OF SCIENCE.

Star (Christchurch), Issue 7068, 21 January 1891, Page 4

ADVANCEMENT OF SCIENCE.

♦ YESTERDAY'S PROCEEDINGS. MISCELLANEOUS. la the afternoon a number of the members and their friends were entertained at a garden party at Hainbleden, by the Bishop of Christchurch and Mrs Julius. Mr Fleming's band played on the lawn, refreshments were served, and those present spent a couple of houis very agreeably. HISTORY OF VOCAL MUSIC. There was a very large attendance at the lecture given by Mr G. F. Tendall in the Provincial Council Chambers last night on the history of vocal music. Mr Tendall, after an expression of regret that a thorough and proper cultivation of music is not spreading in New Zealand as it should, pointed out that among the ancient Egyptians. Hebrews, Greeks, and Romans vocal music in harmony was unknown, singing being purely melodical. The history of inuaio could be regarded as authentic only from the fourth century. St Sylvester, Sfc Ambrose, Gregory the Great, and others of the clergy, did somewhat to advance music till the tenth century, when Hacbald, a monk of Flanders, invented a system of writing down music more clearly, and a most original work on harmony. Guido, an Italian monk, arranged the scale in six chords and gave the notes their present names. Franco, a monk of Cologne, invented a Byefcem of musical notation which had survived ever since. Secular music was advanced in the Middle Ages by the troubadours, but sacred and secular music progressed separately till the 16th century, when musicians from Wanders emigrated to Italy and laid the foundation of the Italian school of music. Pslestrina, a Roman monk of the 16th century, gave > to sacred music its devotional expressiveness. The oratorio and opera were both born in Italy, but one of the greatest operatic composers was Gliick. Tim English excelled in the anthem and the vnadrigal. The Cathedral choir gave vocal illustrations in most admirable style. These illustrations were— a rota, "Sumer is a 1 Comin In," of the date of 1226; Festa's sixteenth century madrigal, "Dawn In a Flow'ry Tale;" two motetto of Palestrina's, of the sixteenth century, "0, Be Joyful," and " I Will Give Thanks ;" two English sixteenth century madrigals, Edwards' "In Going to My Lonely Bed," and Wilbye's "Flora Gave Me Fairest Flowers j" Handel's fine solo, " Arm, Arm, Yo Brave," enng with great apixit by Mr Millar; the well-known "Angple Ever

i Bright and Fair," very sweetly sung by Master Harper ; tbe solo, " Che Faro," • from Gliick's " Orfeo," given by Mr Weir i with exquisite taste and expression ; i Purcell's anthem, "Rejoice in the : Lord," the trio in which was taken by Messrs Macintosh, Key and Millar ; s Mozart'B motett, "0 God, When i Thou Appearest ;" the solo and chorus, i " Come unto These Yellow Sands " s (Furcell), in which the solo parts were : taken by Masters Black and Biinz ; Purr cell's national Bong, " Come if You Dare," > in which Mr Weir took the solo; "The l Night is Calm and Cloudless" from r Sullivan's " Golden Legend," Master t Harper singing the eolo; and the hymn b " O Gladsome Light" from the same comi position. A vote of thanks was carried by r acclamation to Mr Tendall and the choir, I on the motion of Professor Laurie, seconded I by Mr A. Wilson, who expressed regret at 5 the want of adequate provision in New I Zealand for instruction in the science of I music. i ■