t again makes
a rapid swing, finishing coincidently with the initial tone
(or silence) of the new pulse.

Thus it is practically the end of the conductor's beat that
marks the beginning of the pulse.

The Committee is of opinion that Beat might preferably be used
as indicating the outward sign.

_Beat-Note_

This term "beat-note" is already in use in another important
connection (see Terminology Report, 1911) and the Committee
recommends that those using the above terms shall say: "This
note is an on-the-beat note; this one is an after-the-beat
note; this one a before-the-beat note."

DEFINITIONS

_Matters of Ear_

Pulse: The unit of movement in music, one of a series of
regularly recurring throbs or impulses.

Measure: A group of pulses.

Pulse-Group: Two or more tones grouped within the pulse.

_Matters of Eye_

Beat: One of a series of conventional movements made by the
conductor. This might include any unconventional motion which
served to mark the movement of the music, whether made by
conductor, performer or auditor.

Beat-Note: A note of the denomination indicated by the
measure-sign as the unit of note-value in a given measure.

_Example_

Given the following measure-signs: 2-4, 2-2, 2-8, quarter,
half, or eighth notes, respectively, are beat-notes.

Beat-Group: A group of notes or notes and rests, of smaller
denomination than the beat-note which represents a full beat
from beginning to end and is equal in value to the beat-note.
(A beat-group may begin with a rest.)

On-the-Beat Note (or rest): Any note (or rest) ranging in
value from a full beat down, which calls for musical action
(or inaction) synchronously with the conductor's beat.

After-the-Beat Note: Any note in a beat-group which indicates
that a tone is to be sounded after the beginning, and before
or at the middle of the pulse.

Before-the-Beat Note: Any note in a beat-group which indicates
that a tone is to be sounded after the middle of the pulse.

To illustrate terminology and to differentiate between Pulse
and Beat as terms, respectively of ear and eye, the following
is submitted:

Whenever a brief tone involves the musical idea of
syncopation, it may be regarded as an after-the-pulse tone and