nally laid are merely fussy, not because they have
not some sort of reason, but because they fail to take into account the
practical difference between colloquial or off-hand speech and the
diction of a scientific treatise. This is said without forgetting that
colloquialism always needs watching and that some people form the habit
of being careless or positively uncouth as if it were a mark of high
artistic genius."

Professor Pratt's report is thus seen to be philosophic rather than
constructive, and terminology reform will undoubtedly make more
immediate progress through the efforts of the N.E.A. Committee with its
specific recommendations (even though these are sometimes admittedly
_fussy_) than through the policy of the M.T.N.A. of waiting for some one
to get time to take up the subject in a scholarly way. Nevertheless the
philosophic view is sometimes badly needed, especially when the spirit
of reform becomes too rabid and attaches too great importance to
trifles. A judicious intermingling of the two committees in a series of
joint meetings would undoubtedly result in mutual helpfulness, and
possibly also in a more tangible and convincing statement of principles
than has yet been formulated by either.

APPENDIX E

Sonata Op. 31, No. 3 by Beethoven

Analysis by ARTHUR E. HEACOX,
Oberlin Conservatory of Music

First Subject 17 measures, E[flat] major, as follows: 8 meas.
presentation, one meas. link, 8 meas. repetition oct. higher.
Rhythmic elements are A, B, C, all presented in first 8 meas.

[Transcriber's Note: The analysis is presented as notations on the
musical score of the sonata. Please see the HTML version of this e-text
to view the score with the notations and to listen to a MIDI version.]

[Illustration: Sonata Op. 31, No. 3]

INDEX

eh = a as in face; ah = a as in far; ch = ch as in chair; final eh = e
as in met.

A (_ah_), 95

A battuta (_ah-baht-too'-tah_), 95

A capella (_cah-pel'-lah_), 76

A capriccio (_cah-pritch'-eo_), 54

Accelerando (_aht-cheh-leh-rahn'-do_), 54

Accented tones, 20

Accent marks, 20

Accent in measures, 44

Acciaccatura (_aht-cheea-cah-too'-ra_), 25, 26

Accidentals, 9

Accompagnamento (_ahc-com-pahn-yah-men'-to_), 95

Acoustics (_ah-kow'-stics_), def., 131
of auditoriums, 133

Adagietto (_ah-dah-jee-et'-to_), 50

Adagio (_ah-dah'-jee-o_), 50

A deux mains (_doo-mahng_), 42

Ad libitum, 54

Affrettando (_ah