the note that calls for it as an after-the-beat note; when it
involves the idea of anticipation or preparation it may be
regarded as a before-the-pulse tone, and the note that calls
for it, as a before-the-beat note.

_Measure and Meter_

"What is the measure-sign?"

"What is the meter-signature?"

These two words are used synonymously, and one of them is
unnecessary. The Committee recommends that Measure be retained
and used. Meter has its use in connection with hymns.

* * * * *

The author does not find it possible at present to agree with all the
recommendations made in the above report, but the summary is printed in
full for the sake of completeness.

The Music Teacher's National Association has also interested itself
mildly in the subject of terminology reform, and at its meeting in
Washington, D.C., in 1908, Professor Waldo S. Pratt gave his address as
president of the Association on the subject "System and Precision in
Musical Speech." This address interested the members of the Association
to such an extent that Professor Pratt was asked to act as a committee
whose purpose it should be to look into the matter of reforms necessary
in music terminology and report at a later session. In 1910 Professor
Pratt read a report in which he advocated the idea of making some
changes in music nomenclature, but took the ground that the subject is
too comprehensive to be mastered in the short time that can be given to
it by a committee, and that it is therefore impossible to recommend
specific changes. He also took occasion to remark that one difficulty in
the whole matter of terminology is that many terms and expressions are
used _colloquially_ and that such use although usually not scientific,
is often not distinctly harmful and is not of sufficient importance to
cause undue excitement on the part of reformers. Quoting from the report
at this point:--"A great deal of confusion is more apparent than real
between _note_ and _tone_, between _step_ and _degree_, between _key_
and _tonality_. No practical harm is done by speaking of the _first
note_ of a piece when really _first tone_ would be more accurate. To
say that a piece is written _in the key of B[flat]_ is more convenient
than to say that it is written in the _tonality of which B[flat] is the
tonic_. The truth is that some of the niceties of expression upon which
insistence is occasio