Anabasis, Book iii,, which are the subjects selected by the University of The Lectures on Natural Philosophy will begin on Tuesday, February 14th, and continue till Tuesday, June 6th. Fee to Masters of unendowed schools and Ushers, for a single Class, £1; for all the Classes, £1 10s. Attendance upon these Lectures and the examination, during two years, will entitle the parties to be called Students of the College, and so to be Candidates for Degrees in Arts in the University of London, if they have complied in other respects with the Regulations of the University. Gentlemen, who are not Schoolmasters, on special application will be admitted to attend these Lectures at a fee of £3 for each Class. This attend So in όδι, ήδι, τοδί, from ὧδε; ούτωσι from ούτως; ενθάδι, ance will count towards a Certifcate of studentship with a view to a degree, νυνι, δευρι. CORRESPONDENCE. UNIVERSITY OF LONDON. for gentlemen who, on their admission to the Classes, shall show themselves to be twenty-five years of age, and who are matriculated Students of the College, as follows:-The Courses of Mathematics and Natural Philosophy as one short Course, and the Courses of Latin and Greek as one short Course. Masters of unendowed schools and ushers may also attend the Birkbeck Evening Course of Instruction in Practical Chemistry, given by Professor Williamson. The Courses consist of Fifteen Lessons, of two hours each, on Wednesdays and Fridays, in the months of May and June, from 7 to 9 P.M. Fee, £!. MR. EDITOR-I am one of your most obliged and grateful admirers, who, after the insight afforded in your most valuable periodical of the possibility of matriculating at the University of London, took courage, worked steadily on by myself, and had the good fortune of passing first class. Having succeeded thus far, I am desirous of going on for a B. A. degree, but find a cruel bar to my progress in the certificate required, of having been two years in one of the collegiate institutions connected with the University. I therefore resort to your kindness, and crave of you your advice. I am but a clerk in a mercantile firm, employed from 10 till 6 o'clock, therefore it is evident that I cannot attend any college during the day. Is there then no way of overcon.ing this obstacle? no means of obtaining a certificate without this attendance during the day at one of the colleges? Any suggestion you could kindly favour me with I should receive with the deepest gratitude, and it would cause me infinite relief, since from my elation at my first success, I am now quite downcast at the appearance of this seem-regulation to this effect: that the Examinations for Degrees of ingly insurmountable barrier. I think the remarks you make in No. 41 concerning this certificate are most just; for why should the not having been in a colle. giate institution prove a barrier? since there are self-taught students quite as worthy of being honoured as those reared in a college; and, indeed, one would think they are more to be praised for persevering in their application to study, without the (almost invariably necessary) spur of a preceptor; moreover, do not self-taught students need some encouragement? And if there is none (when they have no defined object in view, no goal to reach), will not many linger behind, and perhaps finally give up the emulative struggle in bitter disappointment? Trusting that I may yet retain some hopes, with many thanks, I am in anticipation, yours, &c., ALBERT H. ERNEST. London, 2, Mortimer Villas, Kingsland, 15 Dec., 1853. We have formerly remarked that we should be glad if the University of London were open to all students who can show sufficient evidence of proficiency in the Examinations for Degrees, whether they have attended a College connected with the University or not. We think that the fees which must be paid previous to the Examination will be a sufficient bar to any persons attempting to pass who have not a reasonable hope that they are duly qualified, especially as these fees are never returned, although very properly the Candidates are allowed to try again. We would strongly advise our correspondent, and others in the same circumstances and having the same desire, of whom we have reason to believe there are many among our subscribers and readers, to get up a petition to the Senate of the University of London, soliciting that body to apply to Government for a new charter, which shall include a every kind shall be open to all persons who shall have paid the fees required by the statutes, and who shall be able to show by Certificates of character from their employers, relations, or friends, that they are known to be industrious and studious; that they are of good moral conduct; and that they have not, in any case, contravened the laws of their country. As there will be a meeting of the Senate of the University of London about the middle of next month, we shall be most happy to receive from the metropolis, and from all parts of the United Kingdom, the names of those of any of our students, and of others, who are desirous of signing such a petition, with their reasons for the same, in order that we may draw up the document in proper form, submit it to their approval, and present it on their behalf to that learned and influential body.] ANSWERS TO CORRESPONDENTS. HENTON (Halifax): We think that the last lesson in French indicates sufficiently that the SECOND PART of the lessons in that language is finished.-A. PUPIL: Neither India rubber nor Indian rubber is correct, but Caoutchouc. In French, read the works of Cuvier, Chateaubriand, St. Pierre, Marmontel, Buffon, Montesquieu, Fénelon, Pascal, &c. J. MARTIN (Strood): His method of squaring the circle brings out the answer to every question more than twelve and a-half times greater than the truth. [The subject on which our correspondent writes is a most important one, and his case is one which must enlist the sympathy of every liberal-minded friend of education. Would that he could be admitted to the degree under the circumstances he describes! The Regulations (or rather the Charter) of the University will not, however, admit of it; for the Charter contains an express provision that every Candidate for the B.A. degree shall have studied at one of the affiliated Colleges; and the Regulations fix the term of such study at two academical years, and the Senate of the University could not, if they would, dispense with this condition. The only possible opening that we are aware of (and we think it is really the only one) for our correspondent, is to join the School-ot an inch in every diameter, till it reaches 100 inches, in Adcock's master's Class at University College, Gower-street. By the following extract from the Prospectus of that college, it will be scen that he might get the B.A. degree by so doing, but not before he is 25 years of age. This class is held in the evening two or three times a week. PATRIOT. LECTURES TO SCHOOLMASTERS. A STUDENT OF MENSURATION (Liverpool) will find a table of the areas of circles, commencing with a diameter of 1 inch, and advancing gradually Engineer's Pocket Book,"-a book which contains many other useful tables.-S. STARTUP (Swanscombe): There is a Map of the World in the P. E., vol. i., p. 305; but a larger one will be given. J. C. A. (Somers'-town): Our subscribers would justly laugh at us if we answered his queries. Let him consult the indexes to the volumes of the P. E.-CYMRO BACH: We don't understand the passage, and perhaps it really has no meaning. In many cases, we find that poetry is prose run mad. These Lectures have been established out of funds placed at the ADA (Sleaford): The term aesthetics is derived from the Greek aiebavopai, disposal of the College by an anonymous benefactor, who signed himself AI perceive or apprehend by the senses, and is especially applied to the perception of the beautiful in the arts. The aesthetic of an art has for its object the study of its general modes of action, of its relations with our faculty of perception, and of the power of determining the characters of the beautiful in its productions. Four Courses will be delivered, each of Fifteen Lectures, on Latin, Mathematics, Natural Philosophy, and Greek, by the Professors in the College of the respective subjects, on Tuesdays and Thursdays, from 7 to 9 P.M. The Lectures on Latin will begin on Thursday, October 20th, and continue till Thursday, February 2nd, inclusive. It is hoped that there will be time to read all the books named by the University for the Examinations this year, and also to give some half-hours to details which bear on Latin Composition. The Books are for the B.A. degree, Cicero pro Archia, Pro Lege Manília, Pro Marcello, Somnium Scipions; and for Matriculation, the first Georgic of Virgil. The Lectures on Mathematics will begin on Tuesday, October 18th, and ntinue till Tuesday, February 7th. The Lectures on Greek will begin on Thursday, February 9th and continue till Thursday, June 1st, on the Iphigenia in Aulis, and Xenophon's JM. R. is right, but there are many before him. We have received numerous answers to the boy and apple question. It was generally solved by Double Position; otten by guess; and frequently by algebra. By the last method, it is solved as follows:-Let be the number o apples; then the 1st boy received +, and there remained jæ→); the 2nd boy received +, and there remained -; the 3rd boy received +, and there remained -, which by the question is equal to nothing; therefore, 4x=1, or x=7, the number required. We shall now propose a question ourselves to all our students: If four equal balls, say of 10 inches diameter each, be placed as close together as possible; that is, all touching each other;what must be the diameter of another ball which, placed in the middle of the four, will touch all of them at once? LESSONS IN MUSIC.-No. XXI. (Continued from page 185, Vol. IV.) OF ACCIDENTAL FLATS AND SHARPS, AND RULES FOR RECOGNISING ON THE STAFF THE NOIES OF TRANSITION, THE DISTINGUISHING NOTES OF MINOR Keys, AND CHROMATIC NOTES. ALL notes which differ from the ordinary notes of the key are distinguished in the old notation by flats, sharps, or "naturals," placed immediately before them, and are known by the common name of "accidentals." They are not, however, truly accidental, for each one has a distinct musical character and a special purpose, as will appear from the previous sections. It is important, then, that the pupil, when he sees the dumb sign of flat or sharp, should be able to discern its meaning, and to tell whether it indicates a transition of the whole music into this or that related key, with such or such a peculiar effect, or merely a chromatic variation without changing the key. The note Tu being substituted for FAH of the previous key, and being about half a tone above it, is represented by a note in the place of FAH, with a sharp before it. It is often called the "sharp fourth." Thus : TE into FI. BAH, being used instead of FAH, and about half a tone above it, is represented, like Tu, by a note in the place of FAH, with a sharp, or, in flat keys, with a "natural," before it. Some treat it as the same thing as tu, It is commonly called the "sharp sixth (reckoning from LAH) of the minor key." NE, being used instead of sox, and about half a tone above it, is represented by a note in the place of soн, with a sharp, or in keys with three or more flats in the signature, a natural" before it. It is commonly called the "sharp seventh (reckoning from lower LAH) of the minor key." Thus, The "natural" indicates the removal of some previous flat or sharp, and the restoration of the note before which it is placed to its position in the (so-called) "natural" key. It thus sharpens a note previously flat, and flattens a note previously sharp. The power of the "accidental" sharps, flats, or naturals, extends to any notes similarly placed in the after part of the same measure (or bar), even when the sign is not repeated, but no further. Hence the necessity for putting a flat before the returning FAH. It would not have been required if there had been a bar between it and the previous TU. Accidentals are, however, frequently placed before notes where they are not absolutely needed, especially in cases where the composer fears that the singer or player might be in danger of mistake. However useful this practice in helping bad players, it is VOL. IV. Ni, being about half a tone above the son of its own key, which corresponds with DOH in the original key, is represented by a note in the place of Don, with sharp or natural before it as the case may require. It is the "sharp seventh of the relative minor of the subdominant key." It is a note of frequent occurrence. Nu, being about half a tone above the soн of its own key, which corresponds with RAY in the original key, is represented by case may require. It is seldom used. a note in the place of RAY, with sharp or natural before it as the Chromatic notes are expressed by the note from which they | what does it indicate? Fi-the "returning FAH" after a prespring, with a flat, sharp, or "natural" before it. The true vious TU-or if TE immediately precede, the chromatic Tow. chromatic notes (those which produce the chromatic effect) are preceded by the notes from which they spring. Thus : In consequence of the attempt of the old notation to combine the expression of absolute with relative pitch, and to mingle, for this purpose, the symbolic notation of flats, sharps, and "naturals," with the pictorial notation of the staff, several difficulties arise in connexion with this subject. For instance : How shall we express the note NE (the sharp seventh of the minor mode) in the key of E? The answer is-By putting a sharp on B, which is the son of that key. But is not в SHARP regarded by the learner (and described by many teachers) as the same thing as C NATURAL, and will not this cause a puzzle? Yes, it is the misfortune of the notation to do so. But there are two reasons why C NATURAL would not be correct; first, because it would not point out the note (SOH) instead of which the NE was used; and Secondly, because the real position of NE is only a chromatic parttone (three degrees) above в (SOH), and not a tonule (five degrees), as the C NATURAL Would make it. Thus : How shall we express NE in the keys of B and F SHARP, OF TU in the key of F SHARP, for the note which we would sharpen is already sharpened in the signature? May we use the so-called "natural" note above? No. Reasons corresponding to those given in the last case compel us to invent a new symbol called a double sharp. This placed before the note which would have been SOI, indicates the origin of the NE, and shows more accurately its position. Again : How shall we express a chromatic sharp when the note has been sharpened before in the signature, or a chromatic flat when the note has been flattened before in the signature? For these purposes we shall require, in addition to the double sharp already mentioned, a double flat. These double sharps and flats are also needed on other occasions. When the note that would be soн is raised, by sharp or natural, what does it indicate? NE-or if son immediately precede, the chromatic soI. When the note which would be FAH is raised, by sharp or natural, what does it indicate? Tu-the "returning TE" after a previous FI-in minor tunes BAH-or with FAH preceding, the chromatic FoI. When the note which would be RAY is raised, by sharp or natural, what does it indicate? Nu-or with RAY preceding, the chromatic ROI. When the note that would be Don is raised, by sharp or natural, what does it indicate? Ni-or if DOK precede, the chromatic bor. How do you distinguish the chromatic note? By its being immediately preceded by that from which it springs. So might be called NE, but when preceded by soн it has a different effect on the mind from NE, and therefore should be distinguished. So also with For and ru. When these points have been once thoroughly understood, the pupil will find little difficulty in recognising the ordinary "accidentals" as he comes upon them. Extraordinary accidentals may still occur, which it is difficult to decipher from the signs of the old notation, and perhaps difficult to explain on the principles of music. OTHER SYMBOLS OF FREQUENT OCCURRENCE. For an explanation of all the terms and signs that are ever used in music, we must refer to such works as "Hamilton's Shilling Dictionary of Musical Terms," published by Cocks, London, and Saroni's Musical Vade Mecum," published by Mason and Law, New York. But a few signs of frequent use remain to be explained. THE DOUBLE BAR generally indicates the close of a line in the poetry or a "passage" in the music. A row of dots before it (or sometimes two dots) means that the preceding part of the music should be repeated. A row of dots after it (or even apart from the double bar) shows that the passage which follows will have to be repeated. Try to sing the following. KEY G. A curve with a figure three in the centre is put over a triplet of notes when they should be sung in the time of two. A small curve with a dot in its centre, when placed over a note or rest, allows to give to that note or rest any length of time which you think good taste requires. A dot or strike above a note shows that it should be sung "staccato," or shorter than the note would ordinarily be. Saroni says that the dot does not indicate so decided staccato" as the stroke. a 04 3 Je lis pour la première fois un bon livre, et j'y prends le mê ne plairir que si je faisais un nouvel am. Je relis un livre que j'ai lu, c'est un ancien ami que je revois.-Voltaire. La lecture est une partie du devoir de l'honnête homme.Christine. On ne peut avoir l'âme grande, ou l'esprit un peu péné.rant sans quelque passion pour les lettres.-Vauvenargues Aimer à lire, c'est faire un échange des heures d'ennui que l'on doit avoir en sa vie contre des heures délicieuses.-Montesquieu. Ce n'est pas dans les choses extraordinaires et bizarres que se trouve l'excellence de quelque genre ce soit. Les meilleurs livres sent ceux que chaque lecteur croit qu'il aurait pu faire; la nature, qui scule est bonne, est toute familière et commune.. Je hais les When the note that would be 18 is low..d, by flat or natural, mots d'er flure.-Pascal. |