[14] Gehrkens, Music Notation and Terminology. The A.S. Barnes Co., New York.
[15] Dickinson, The Education of a Music Lover, p. 21.
[16] Matthay, Musical Interpretation, p. 88.
[17] Coward, Choral Technique and Interpretation, p. 112.
[18] On the other hand, the criticism has been made in recent years that certain orchestral conductors have not sufficiently taken into consideration the size and acoustics of the auditoriums in which they were conducting, and have made their pianissimos so soft that nothing at all could be heard in the back of the room. In order to satisfy himself that the tone is as soft as possible, and yet that it is audible, it will be well for the conductor to station some one of good judgment in the back of the auditorium during the concert, this person later reporting to the conductor in some detail the effect of the performance.
[19] Dickinson, The Education of a Music Lover, p. 123.
[20] Berlioz, A Treatise on Modern Instrumentation and Orchestration, p. 255.
[21] Coward, Choral Technique and Interpretation, p. 73.
[22] C.F.A. Williams, The Rhythm of Modern Music, p. 18.
[23] The essentials of this same plan of seating are recommended to adult choruses for a like reason; viz., in order to enable a smaller number of men's voices to balance a larger number of sopranos and altos by placing the men in the most prominent position, instead of seating them back of the women, as is so frequently done.