in a general sense, the uniting or putting together several things, so as to form one whole, called a compound.

Composition of Ideas, an act of the mind, whereby it unites several simple ideas into one conception or complex idea.

When we are provided with a sufficient stock of simple ideas, and have by habit and use rendered them familiar to our minds, they become the component parts of other ideas still more complicated, and form what we may call a second order of compound notions. This process may be continued to any degree of composition we please, mounting from one stage to another, and enlarging the number of combinations.

grammar, the joining of two words together; or prefixing a particle to another word, to augment, diminish, or change its signification.

logic, a method of reasoning whereby we proceed from some general self-evident truth, to other particular and singular ones.

In diluting and putting together our thoughts, there are two ways of proceeding, equally within our choice: for we may suppose the truths, relating to any part of knowledge, as they presented themselves to the mind, in the manner of investigation; carrying on the series of proofs in a reverse order, till they, at last, terminate in first principles: or beginning with these principles, we may take the contrary way, and from them deduce, by a direct train of reasoning, all the several propositions we want to establish.

This diversity, in the manner of arranging our thoughts, gives rise to the twofold division of method established among logicians; the one called analytic method, or the method of resolution, insomuch as it traces things back to their source, and resolves knowledge into its first and original principles. This method stands in contradiction to the method of composition; or, as it is otherwise called, the synthetic method: for here we proceed by gathering together the several scattered parts of knowledge, and combining them into one system, in such a manner, as that the understanding is enabled distinctly to follow truth through all the different stages of gradation.

music, is the art of inventing and writing airs; of accompanying them with a suitable harmony; in short, of forming a complete piece of music in all its parts.

The knowledge of melody, harmony, and its rules, is the foundation of composition. Without doubt, it Compositions are either formed for the voice alone, or for instruments, or for voices and instruments joined. Full choruses and songs are the only compositions principally intended for the voice, though sometimes instruments are joined with it to support it. Compositions for instruments are intended to be executed by a band in the orchestra, and then they are called symphonies, concertos; or for some particular species of instruments, and then they are called pieces or sonatas.

Such compositions as are destined both for voices and instruments, have been generally divided into two capital species, viz. the sacred, and the secular. The compositions destined for the church, whether psalms, hymns, anthems, or responsives, are in general distinguished by the name of church-music, and characterized by their intention to be sung with words. Secular music in general may likewise be divided into two kinds; theatrical and chamber music. Of the first kind, is that used in the operas; the subdivisions of the second are endless. Solos, concertos, cantatas, songs, and airs, almost of every kind, which are not adapted to the church or the stage, may be included in the idea of chamber-music.

In general, it is thought, that sacred music requires deeper science, and a more accurate observation of rules; the secular species gives more indulgence to genius, and subsists in greater variety.

But we must here observe, that the ecclesiastical music now used, or rather profaned and murdered, amongst us, though regular in its harmony, is simple in its composition, and demands not that profound knowledge in the art, either to form or comprehend it, which Rousseau whom till now, we have followed in this article, seems to imagine. His assertion can only be applicable to the church-music of Italy. That which is now established amongst us, seems not to be indigenous, but transferred with the Calvinistical liturgy from Geneva; and as it is intended for popular use, it can by no means be esteemed an high exertion of the musical art: yet, however simple, it is pleasing; and, when properly performed, might elevate the soul to a degree of devotion, and even of rapture, which at present we are so far from feeling, that we rather seem to sleep or to howl, than to sing the praise of God. Perhaps our clergy may find more advantage in cultivating their farms; but they would surely feel a higher and diviner pleasure, in cultivating the tastes and voices of their people. The one, however, is not incompatible with the other. An hour of relaxation in a winter-evening might serve for the accomplishment of this pious purpose; and one should imagine, that, independent of religious considerations, the spirit of the craft might dictate such a measure as calculated to produce popular entertainment and gain popular affection.

In composition, the author either confines himself, as a subject, to the mere mechanical modulations and arrangements of sound; and, as his end, to the pleasure of the ear alone: or otherwise he soars a nobler height; he aspires to imitative music; he endeavours to render the hearts and souls of his auditors ductile by his art, and thus to produce the noblest emotions and most salutary effects. In the first view, it is only necessary, necessary, that he should look for beautiful sounds and agreeable chords; but in the second, he ought to consider music in its conformity with the accents of the human voice, and in the expressive powers of notes harmonically combined to signify or paint such objects as are susceptible of imitation. In Rousseau's article *opera*, some ideas may be found by which the art may be ennobled and elevated, by forming music into a language more powerful and pathetic than eloquence itself. See OPERA.

**Composition**, in literature, the art of forming and arranging sentiments, and clothing them with language suitable to the nature of the subject or discourse. See the articles LANGUAGE, ORATORY, and POETRY.

**Composition**, in chemistry, is the union and combination of several substances of different natures, from which a compound body results. From this union of bodies of different natures, a body is formed, of a mixed nature, which Becker and Stahl have called a mixture, and which may be called a combination, or chemical composition, to avoid the equivocal sense of the word mixture. By this last, we understand only a mere apposition of parts; and which would therefore give a very false idea of chemical composition, in which a mutual adhesion takes place between the combined substances.

**Composition**, in painting, includes the invention as well as disposition of the figures, the choice of attitudes, &c.

Composition, therefore, consists of two parts; one of which finds out, by means of history, proper objects for a picture; and the other disposes them to advantage. See PAINTING.

**Composition**, in pharmacy, the art or act of mixing divers ingredients together into a medicine so they may assist each other's virtues, supply each other's defects, or correct any ill qualities thereof. See PHARMACY.

**Composition**, in commerce, a contract between an insolvent debtor and his creditors, whereby the latter accept of a part of the debt in composition for the whole, and give a general acquittance accordingly.

**Composition**, in printing, commonly termed composing, the arranging of several types or letters in the composing-stick, in order to form a line; and of several lines ranged in order, in the galley, to make a page; and of several pages to make a form. See PRINTING.

**COMPOSITÆ**, in botany. The name of a class in Hermannus and Royen; as likewise, of an order in Linnæus's fragments of a natural method, consisting in general of the plants which have the characters enumerated in the following article. A particular description of this order, is given under the article SYNGENESIA, which includes all the compound flowers.