[8] In this connection we cannot refrain from suggesting the improvement which should be made in the concert manners of the public. How often, at the beginning of a concert, do we see people removing their wraps, looking at their neighbors, reading the programme book, etc., instead of concentrating on the music itself; with the result that the composition is often well on its way before such people have found their bearings.
[9] Compare Parry's Evolution of the Art of Music, passim and D.G. Mason's Beethoven and his Forerunners, Chapter I.
[10] In comparatively recent times the term has been widened to include music in which there is one chief melody to which other portions of the musical texture are subordinate; e.g., the homophonic style of Chopin in whose works the chief melody, often in the upper voice, seems to float on underlying waves of sound.
[11] For a complete account of these early attempts which finally led to part-writing see Chapter IV in the first volume of the Oxford History of Music.
[12] An historical account of this development as far as it is ascertainable may be found in the fifth chapter of Pratt's History of Music.
[13] Consult the article on the Round in Grove's Dictionary.
[14] A rather crude English adaptation of the Latin term "Punctus contra punctum" which refers to the notes as punctūs (plural) or dots which were pricked with a stylus into the medieval manuscripts. In this phrase the emphasis is on the contra, signifying a combination of different melodies and rhythms, and calling attention to that higher importance which, everywhere in art, is caused by contrasted elements.
[15] For an interesting account of this tripartite activity see Naumann's History of Music.
[16] See the facsimile of the original manuscript of "Sumer is icumen in" cited in the first volume of the Oxford History of Music, pp. 326-332.
[17] For a simple, charming example of persistent use of a motive see Schumann's pianoforte piece Kind im Einschlummern, No. 12 of the Kinderscenen.