COMMENT ⊗   VALID 00002 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002	.DEVICE XGP 
C00006 ENDMK
C⊗;
.DEVICE XGP 
.spacing 10*5 mills;
.EVERY HEADING(,{PAGE},)
.AREA TEXT LINES 4 TO 40
.PORTION MAIN;
.PLACE TEXT;
.TURN ON "%↓_↑↓[&]{"
.singlescript
.COMPACT
.PAGE←7
.NEXT PAGE
.<< Put in a footnote. >>
.
.COUNT FOOTNOTE INLINE FROM 1 TO 999 IN PAGE PRINTING ⊂"*****"[1 TO FOOTNOTE]⊃
.<<	(IF THISDEVICE = "XGP" THEN "%51%*" ELSE "[1]");>>
.
.FOOTSEP ← "__________";
.AT "$$" ENTRY "$"
.	⊂
.	NEXT FOOTNOTE;
.	FOOTNOTE!;
.	SEND FOOT
.		⊂
.		BEGIN "NEXT FOOTNOTE"
.		SELECT 1;
.		SINGLE SPACE
.		INDENT 0,0,0;
.		(FOOTNOTE! & " ");
ENTRY
.		END "NEXT FOOTNOTE";
.		⊃;
.	⊃;
.
.COMMENT sneak(beware("'177'2'17"));
.at "!!" pre "," txt ";"	⊂
.sneak(beware("'177'2'11"));
pre{("%3↑"&"txt"[1]&"&↓"&"txt"[2]&"%*");
.sneak(beware("'177'2'10"));
.  ⊃
.COMMENT ("txt"[1]&"↑[%3"&"txt"[2]&"]&↓["&"txt"[3]&"]%*");
.FONT 1 "METL"
.font 2 "METLI"
.font 3 "METS"
.font 4 "MUS[HHA,LCS]"
.SKIP 3
.CENTER		
CHAPTER I
.SKIP 2
.CENTER			
INTRODUCTION
.SKIP 2
.INDENT 6
.FILL
.ADJUST
.SELECT 1
	Except possibly for the works of a few ↓_composers_↓
overcome by a theoretical bent, music has always 
been written from the point of view that the  proof
the ear  being 
the final arbiter.  Of course, we  all V%4A%1
know that the ear is simply the  receptor of sounds and that what we  mean
which we know or conceive of.  It is  obvious that any one,  isolated
note V%46F%1 sounds either  right  or  wrong
which we know or conceive of.  It is  obvious that any one,  isolated
which we know or conceive of.  It is  obvious that any one,  isolated
which we know or conceive of.  It is  obvious that any one,  isolated