<h2><SPAN name="II" id="II"></SPAN>II</h2>
<h2><i>Recognition of Musical Elements</i></h2>
<div class="sidenote"><i>The nature of music.</i></div>
<p><span class="dropcap">M</span><span class="smcap">usic</span> is dual in its nature; it is material as well as spiritual. Its
material side we apprehend through the sense of hearing, and
comprehend through the intellect; its spiritual side reaches us
through the fancy (or imagination, so it be music of the highest
class), and the emotional part of us. If the scope and capacity of the
art, and the evolutionary processes which its history discloses (a
record of which is preserved in its nomenclature), are to be
understood, it is essential that this duality be kept in view. There
is something so potent and elemental in the appeal which music makes
that it is possible to derive pleasure from even an unwilling hearing
or a hearing unaccompanied by effort at analysis;<span class="pagenum"><SPAN name="Page_16" id="Page_16"></SPAN></span> but real
appreciation of its beauty, which means recognition of the qualities
which put it in the realm of art, is conditioned upon intelligent
hearing. The higher the intelligence, the keener will be the
enjoyment, if the former be directed to the spiritual side as well as
the material.</p>
<div class="sidenote"><i>Necessity of intelligent hearing.</i></div>
<p>So far as music is merely agreeably co-ordinated sounds, it may be
reduced to mathematics and its practice to handicraft. But recognition
of design is a condition precedent to the awakening of the fancy or
the imagination, and to achieve such recognition there must be
intelligent hearing in the first instance. For the purposes of this
study, design may be held to be Form in its primary stages, the
recognition of which is possible to every listener who is fond of
music; it is not necessary that he be learned in the science. He need
only be willing to let an intellectual process, which will bring its
own reward, accompany the physical process of hearing.</p>
<div class="sidenote"><i>Tones and musical material.</i></div>
<p>Without discrimination it is impossible to recognize even the crude
materials<span class="pagenum"><SPAN name="Page_17" id="Page_17"></SPAN></span> of music, for the first step is already a co-ordination of
those materials. A tone becomes musical material only by association
with another tone. We might hear it alone, study its quality, and
determine its degree of acuteness or gravity (its pitch, as musicians
say), but it can never become music so long as it remains isolated.
When we recognize that it bears certain relationships with other tones
in respect of time or tune (to use simple terms), it has become for us
musical material. We do not need to philosophize about the nature of
those relationships, but we must recognize their existence.</p>
<div class="sidenote"><i>The beginnings of Form.</i></div>
<p>Thus much we might hear if we were to let music go through our heads
like water through a sieve. Yet the step from that degree of
discrimination to a rudimentary analysis of Form is exceedingly short,
and requires little more than a willingness to concentrate the
attention and exercise the memory. Everyone is willing to do that much
while looking at a picture. Who would look at a painting and rest
satisfied with the impression made upon the sense of<span class="pagenum"><SPAN name="Page_18" id="Page_18"></SPAN></span> sight by the
colors merely? No one, surely. Yet so soon as we look, so as to
discriminate between the outlines, to observe the relationship of
figure to figure, we are indulging in intellectual exercise. If this
be a condition precedent to the enjoyment of a picture (and it plainly
is), how much more so is it in the case of music, which is intangible
and evanescent, which cannot pause a moment for our contemplation
without ceasing to be?</p>
<div class="sidenote"><i>Comparison with a model not possible.</i></div>
<p>There is another reason why we must exercise intelligence in
listening, to which I have already alluded in the <SPAN href="#I">first chapter</SPAN>. Our
appreciation of beauty in the plastic arts is helped by the
circumstance that the critical activity is largely a matter of
comparison. Is the picture or the statue a good copy of the object
sought to be represented? Such comparison fails us utterly in music,
which copies nothing that is tangibly present in the external world.</p>
<div class="sidenote"><i>What degree of knowledge is necessary?</i></div>
<div class="sidenote"><i>The Elements.</i></div>
<div class="sidenote"><i>Value of memory.</i></div>
<p>It is then necessary to associate the intellect with sense perception
in listening to music. How far is it essential that the intellectual
process shall go?<span class="pagenum"><SPAN name="Page_19" id="Page_19"></SPAN></span> This book being for the untrained, the question
might be put thus: With how little knowledge of the science can an
intelligent listener get along? We are concerned only with his
enjoyment of music or, better, with an effort to increase it without
asking him to become a musician. If he is fond of the art it is more
than likely that the capacity to discriminate sufficiently to
recognize the elements out of which music is made has come to him
intuitively. Does he recognize that musical tones are related to each
other in respect of time and pitch? Then it shall not be difficult for
him to recognize the three elements on which music rests—Melody,
Harmony, and Rhythm. Can he recognize them with sufficient
distinctness to seize upon their manifestations while music is
sounding? Then memory shall come to the aid of discrimination, and he
shall be able to appreciate enough of design to point the way to a
true and lofty appreciation of the beautiful in music. The value of
memory is for obvious reasons very great in musical enjoyment. The
picture remains<span class="pagenum"><SPAN name="Page_20" id="Page_20"></SPAN></span> upon the wall, the book upon the library shelf. If we
have failed to grasp a detail at the first glance or reading, we need
but turn again to the picture or open the book anew. We may see the
picture in a changed light, or read the poem in a different mood, but
the outlines, colors, ideas are fixed for frequent and patient
perusal. Music goes out of existence with every performance, and must
be recreated at every hearing.</p>
<div class="sidenote"><i>An intermediary necessary.</i></div>
<p>Not only that, but in the case of all, so far as some forms are
concerned, and of all who are not practitioners in others, it is
necessary that there shall be an intermediary between the composer and
the listener. The written or printed notes are not music; they are
only signs which indicate to the performer what to do to call tones
into existence such as the composer had combined into an art-work in
his mind. The broadly trained musician can read the symbols; they stir
his imagination, and he hears the music in his imagination as the
composer heard it. But the untaught music-lover alone can get<span class="pagenum"><SPAN name="Page_21" id="Page_21"></SPAN></span> nothing
from the printed page; he must needs wait till some one else shall
again waken for him the</p>
<div class="poem"><div class="stanza">
<span class="i0">"Sound of a voice that is still."</span></div>
</div>
<div class="sidenote"><i>The value of memory.</i></div>
<p>This is one of the drawbacks which are bound up in the nature of
music; but it has ample compensation in the unusual pleasure which
memory brings. In the case of the best music, familiarity breeds
ever-growing admiration. New compositions are slowly received; they
make their way to popular appreciation only by repeated performances;
the people like best the songs as well as the symphonies which they
know. The quicker, therefore, that we are in recognizing the melodic,
harmonic, and rhythmic contents of a new composition, and the more apt
our memory in seizing upon them for the operation of the fancy, the
greater shall be our pleasure.</p>
<div class="sidenote"><i>Melody, Harmony, and Rhythm.</i></div>
<div class="sidenote"><i>Comprehensiveness of Melody.</i></div>
<p>In simple phrase Melody is a well-ordered series of tones heard
successively; Harmony, a well-ordered series heard simultaneously;
Rhythm, a symmetrical grouping of tonal time units<span class="pagenum"><SPAN name="Page_22" id="Page_22"></SPAN></span> vitalized by
accent. The life-blood of music is Melody, and a complete conception
of the term embodies within itself the essence of both its companions.
A succession of tones without harmonic regulation is not a perfect
element in music; neither is a succession of tones which have harmonic
regulation but are void of rhythm. The beauty and expressiveness,
especially the emotionality, of a musical composition depend upon the
harmonies which either accompany the melody in the form of chords (a
group of melodic intervals sounded simultaneously), or are latent in
the melody itself (harmonic intervals sounded successively). Melody is
Harmony analyzed; Harmony is Melody synthetized.</p>
<div class="sidenote"><i>Repetition.</i></div>
<div class="sidenote"><i>A melody analyzed.</i></div>
<p>The fundamental principle of Form is repetition of melodies, which are
to music what ideas are to poetry. Melodies themselves are made by
repetition of smaller fractions called motives (a term borrowed from
the fine arts), phrases, and periods, which derive their individuality
from their rhythmical or intervallic characteristics. Melodies are<span class="pagenum"><SPAN name="Page_23" id="Page_23"></SPAN></span>
not all of the simple kind which the musically illiterate, or the
musically ill-trained, recognize as "tunes," but they all have a
symmetrical organization. The dissection of a simple folk-tune may
serve to make this plain and also indicate to the untrained how a
single feature may be taken as a mark of identification and a
holding-point for the memory. Here is the melody of a Creole song
called sometimes <i>Pov' piti Lolotte</i>, sometimes <i>Pov' piti Momzelle
Zizi</i>, in the patois of Louisiana and Martinique:</p>
<p style="text-align: center">
<ANTIMG src="images/music01.png" width-obs="758" height-obs="187" alt="Creole song" /></p>
<p style="text-align: center">
<SPAN href="music/music01.midi">Listen</SPAN> 
<SPAN href="music/music01.ly">View Lilypond</SPAN></p>
<div class="sidenote"><i>Motives, phrases, and periods.</i></div>
<p>It will be as apparent to the eye of one who cannot read music as it
will to his ear when he hears this melody played, that it is built up
of two groups of notes only. These groups are marked off by the heavy
lines across the staff called bars, whose purpose it is to indicate<span class="pagenum"><SPAN name="Page_24" id="Page_24"></SPAN></span>
rhythmical subdivisions in music. The second, third, fifth, sixth, and
seventh of these groups are repetitions merely of the first group,
which is the germ of the melody, but on different degrees of the
scale; the fourth and eighth groups are identical and are an appendage
hitched to the first group for the purpose of bringing it to a close,
supplying a resting-point craved by man's innate sense of symmetry.
Musicians call such groups cadences. A musical analyst would call each
group a motive, and say that each successive two groups, beginning
with the first, constitute a phrase, each two phrases a period, and
the two periods a melody. We have therefore in this innocent Creole
tune eight motives, four phrases, and two periods; yet its material is
summed up in two groups, one of seven notes, one of five, which only
need to be identified and remembered to enable a listener to recognize
something of the design of a composer if he were to put the melody to
the highest purposes that melody can be put in the art of musical
composition.<span class="pagenum"><SPAN name="Page_25" id="Page_25"></SPAN></span></p>
<div class="sidenote"><i>Repetition in music.</i></div>
<p>Repetition is the constructive principle which was employed by the
folk-musician in creating this melody; and repetition is the
fundamental principle in all musical construction. It will suffice for
many merely to be reminded of this to appreciate the fact that while
the exercise of memory is a most necessary activity in listening to
music, it lies in music to make that exercise easy. There is
repetition of motives, phrases, and periods in melody; repetition of
melodies in parts; and repetition of parts in the wholes of the larger
forms.</p>
<div class="sidenote"><i>Repetition in poetry.</i></div>
<p>The beginnings of poetic forms are also found in repetition; in
primitive poetry it is exemplified in the refrain or burden, in the
highly developed poetry of the Hebrews in parallelism. The Psalmist
wrote:</p>
<div class="poem"><div class="stanza">
<span class="i0">"O Lord, rebuke me not in thy wrath,<br/></span>
<span class="i0">Neither chasten me in thy hot displeasure."</span></div>
</div>
<div class="sidenote"><i>Key relationship.</i></div>
<p>Here is a period of two members, the latter repeating the thought of
the former. A musical analyst might find in it an admirable analogue
for the first period of a simple melody. He would<span class="pagenum"><SPAN name="Page_26" id="Page_26"></SPAN></span> divide it into four
motives: "Rebuke me not | in thy wrath | neither chasten me | in thy
hot displeasure," and point out as intimate a relationship between
them as exists in the Creole tune. The bond of union between the
motives of the melody as well as that in the poetry illustrates a
principle of beauty which is the most important element in musical
design after repetition, which is its necessary vehicle. It is because
this principle guides the repetition of the tone-groups that together
they form a melody that is perfect, satisfying, and reposeful. It is
the principle of key-relationship, to discuss which fully would carry
me farther into musical science than I am permitted to go. Let this
suffice: A harmony is latent in each group, and the sequence of groups
is such a sequence as the experience of ages has demonstrated to be
most agreeable to the ear.</p>
<div class="sidenote"><i>The rhythmical stamp.</i></div>
<div class="sidenote"><i>The principle of Unity.</i></div>
<p>In the case of the Creole melody the listener is helped to a quick
appreciation of its form by the distinct physiognomy which rhythm has
stamped upon it; and it is by noting such a character<span class="pagenum"><SPAN name="Page_27" id="Page_27"></SPAN></span>istic that the
memory can best be aided in its work of identification. It is not
necessary for a listener to follow all the processes of a composer in
order to enjoy his music, but if he cultivates the habit of following
the principal themes through a work of the higher class he will not
only enjoy the pleasures of memory but will frequently get a glimpse
into the composer's purposes which will stimulate his imagination and
mightily increase his enjoyment. There is nothing can guide him more
surely to a recognition of the principle of unity, which makes a
symphony to be an organic whole instead of a group of pieces which are
only externally related. The greatest exemplar of this principle is
Beethoven; and his music is the best in which to study it for the
reason that he so frequently employs material signs for the spiritual
bond. So forcibly has this been impressed upon me at times that I am
almost willing to believe that a keen analytical student of his music
might arrange his greater works into groups of such as were in process
of composi<span class="pagenum"><SPAN name="Page_28" id="Page_28"></SPAN></span>tion at the same time without reference to his personal
history. Take the principal theme of the C minor Symphony for example:</p>
<p style="text-align: center">
<ANTIMG src="images/music02.png" alt="Beethoven C minor symphony" width-obs="206" height-obs="121" /></p>
<p style="text-align: center">
<SPAN href="music/music02.midi">Listen</SPAN>  <SPAN href="music/music02.ly">View
Lilypond</SPAN></p>
<div class="sidenote"><i>A rhythmical motive pursued.</i></div>
<p>This simple, but marvellously pregnant, motive is not only the kernel
of the first movement, it is the fundamental thought of the whole
symphony. We hear its persistent beat in the scherzo as well:</p>
<p style="text-align: center">
<ANTIMG src="images/music03.png" alt="Beethoven C minor symphony scherzo" width-obs="728" height-obs="94" /></p>
<p style="text-align: center">
 <SPAN href="music/music03.midi">Listen</SPAN> <SPAN href="music/music03.ly">View
Lilypond</SPAN></p>
<p>and also in the last movement:</p>
<p style="text-align: center">
<ANTIMG src="images/music04.png" alt="Beethoven C minor symphony last movement" width-obs="740" height-obs="126" /></p>
<p style="text-align: center">
<SPAN href="music/music04.midi">Listen</SPAN> <SPAN href="music/music04.ly">View Lilypond</SPAN></p>
<p>More than this, we find the motive haunting the first movement of the<span class="pagenum"><SPAN name="Page_29" id="Page_29"></SPAN></span>
pianoforte sonata in F minor, op. 57, known as the "Sonata
Appassionata," now gloomily, almost morosely, proclamative in the
bass, now interrogative in the treble:</p>
<p style="text-align: center">
<ANTIMG src="images/music05.png" alt="Sonata Appassionata" width-obs="741" height-obs="141" /></p>
<p style="text-align: center">
<SPAN href="music/music05.midi">Listen</SPAN>  <SPAN href="music/music05.ly">View
Lilypond</SPAN></p>
<div class="sidenote"><i>Relationships in Beethoven's works.</i></div>
<div class="sidenote"><i>The C minor Symphony and "Appassionata" sonata.</i></div>
<div class="sidenote"><i>Beethoven's G major Concerto.</i></div>
<p>Schindler relates that when once he asked Beethoven to tell him what
the F minor and the D minor (Op. 31, No. 2) sonatas meant, he received
for an answer only the enigmatical remark: "Read Shakespeare's
'Tempest.'" Many a student and commentator has since read the
"Tempest" in the hope of finding a clew to the emotional contents
which Beethoven believed to be in the two works, so singularly
associated, only to find himself baffled. It is a fancy, which rests
perhaps too much on outward things, but still one full of suggestion,
that had Beethoven said: "Hear my C minor Symphony," he would have
given a better starting-point to the imagina<span class="pagenum"><SPAN name="Page_30" id="Page_30"></SPAN></span>tion of those who are
seeking to know what the F minor sonata means. Most obviously it means
music, but it means music that is an expression of one of those
psychological struggles which Beethoven felt called upon more and more
to delineate as he was more and more shut out from the companionship
of the external world. Such struggles are in the truest sense of the
word tempests. The motive, which, according to the story, Beethoven
himself said indicates, in the symphony, the rappings of Fate at the
door of human existence, is common to two works which are also related
in their spiritual contents. Singularly enough, too, in both cases the
struggle which is begun in the first movement and continued in the
third, is interrupted by a period of calm reassuring, soul-fortifying
aspiration, which in the symphony as well as in the sonata takes the
form of a theme with variations. Here, then, the recognition of a
simple rhythmical figure has helped us to an appreciation of the
spiritual unity of the parts of a symphony, and provided a commentary
on the poetical<span class="pagenum"><SPAN name="Page_31" id="Page_31"></SPAN></span> contents of a sonata. But the lesson is not yet
exhausted. Again do we find the rhythm coloring the first movement of
the pianoforte concerto in G major:</p>
<p style="text-align: center">
<ANTIMG src="images/music06.png" alt="Beethoven G minor piano concerto" width-obs="745" height-obs="160" /></p>
<p style="text-align: center">
<SPAN href="music/music06.midi">Listen</SPAN> <SPAN href="music/music06.ly">View Lilypond</SPAN></p>
<p>Symphony, concerto, and sonata, as the sketch-books of the master
show, were in process of creation at the same time.</p>
<div class="sidenote"><i>His Seventh Symphony.</i></div>
<p>Thus far we have been helped in identifying a melody and studying
relationships by the rhythmical structure of a single motive. The
demonstration might be extended on the same line into Beethoven's
symphony in A major, in which the external sign of the poetical idea
which underlies the whole work is also rhythmic—so markedly so that
Wagner characterized it most happily and truthfully when he said that
it was "the apotheosis of the dance." Here it is the dactyl,
<ANTIMG src="images/dactyl.png" width-obs="50" height-obs="21" alt="dactyl" />, which in<span class="pagenum"><SPAN name="Page_32" id="Page_32"></SPAN></span> one variation, or another, clings to us almost as
persistently as in Hood's "Bridge of Sighs:"</p>
<div class="poem"><div class="stanza">
<span class="i0">"One more unfortunate<br/></span>
<span class="i2">Weary of breath,<br/></span>
<span class="i0">Rashly importunate,<br/></span>
<span class="i2">Gone to her death."</span></div>
</div>
<div class="sidenote"><i>Use of a dactylic figure.</i></div>
<p>We hear it lightly tripping in the first movement:</p>
<table border="0" summary="rhythms" cellpadding="5" cellspacing="0" style="border-collapse: collapse" width="75%" id="AutoNumber1">
<tbody>
<tr>
<td>
<ANTIMG src="images/music07.png" alt="rhythm" width-obs="100" height-obs="53" /><p>
<SPAN href="music/music07.midi">Listen</SPAN> <SPAN href="music/music07.ly">View Lilypond</SPAN></p>
</td>
<td>and</td>
<td>
<ANTIMG src="images/music08.png" alt="rhythm" width-obs="133" height-obs="50" /><p>
<SPAN href="music/music08.midi">Listen</SPAN> <SPAN href="music/music08.ly">View Lilypond</SPAN></p>
</td>
</tr>
</tbody>
</table>
<p>gentle, sedate, tender, measured, through its combination with a
spondee in the second:</p>
<p style="text-align: center">
<ANTIMG src="images/music09.png" alt="rhythm" width-obs="157" height-obs="53" /></p>
<p style="text-align: center"><SPAN href="music/music09.midi">Listen</SPAN> <SPAN href="music/music09.ly">View Lilypond</SPAN></p>
<p>cheerily, merrily, jocosely happy in the Scherzo:</p>
<p style="text-align: center">
<ANTIMG src="images/music10.png" alt="rhythm" width-obs="102" height-obs="67" /></p>
<p style="text-align: center"><SPAN href="music/music10.midi">Listen</SPAN> <SPAN href="music/music10.ly">View Lilypond</SPAN></p>
<p>hymn-like in the Trio:</p>
<p style="text-align: center">
<ANTIMG src="images/music11.png" alt="rhythm" width-obs="130" height-obs="55" /></p>
<p style="text-align: center"><SPAN href="music/music11.midi">Listen</SPAN> <SPAN href="music/music11.ly">View Lilypond</SPAN></p>
<p>and wildly bacchanalian when subjected to trochaic abbreviation in the
Finale:</p>
<p style="text-align: center">
<ANTIMG src="images/music12.png" alt="rhythm" width-obs="141" height-obs="58" /></p>
<p style="text-align: center"><SPAN href="music/music12.midi">Listen</SPAN> <SPAN href="music/music12.ly">View Lilypond</SPAN></p>
<div class="sidenote"><i>Intervallic characteristics.</i></div>
<p>Intervallic characteristics may place the badge of relationship upon
melodies<span class="pagenum"><SPAN name="Page_33" id="Page_33"></SPAN></span> as distinctly as rhythmic. There is no more perfect
illustration of this than that afforded by Beethoven's Ninth Symphony.
Speaking of the subject of its finale, Sir George Grove says:</p>
<div class="blockquot"><p>"And note—while listening to the simple tune itself, before
the variations begin—how <i>very</i> simple it is; the plain
diatonic scale, not a single chromatic interval, and out of
fifty-six notes only three not consecutive."<SPAN name="FNanchor_A_1" id="FNanchor_A_1"></SPAN><SPAN href="#Footnote_A_1" class="fnanchor">[A]</SPAN></p>
</div>
<div class="sidenote"><i>The melodies in Beethoven's Ninth Symphony.</i></div>
<p>Earlier in the same work, while combating a statement by Lenz that the
resemblance between the second subject of the first movement and the
choral melody is a "thematic reference of the most striking
importance, vindicating the unity of the entire work, and placing the
whole in a perfectly new light," Sir George says:</p>
<div class="blockquot"><p>"It is, however, very remarkable that so many of the
melodies in the Symphony should consist of consecutive
notes, and that in no less than four of them the notes
should run up a portion of the scale and down
again—apparently pointing to a consistent condition of
Beethoven's mind throughout this work."</p>
</div>
<p><span class="pagenum"><SPAN name="Page_34" id="Page_34"></SPAN></span></p>
<div class="sidenote"><i>Melodic likenesses.</i></div>
<p>Like Goethe, Beethoven secreted many a mystery in his masterpiece, but
he did not juggle idly with tones, or select the themes of his
symphonies at hap-hazard; he would be open to the charge, however, if
the resemblances which I have pointed out in the Fifth and Seventh
Symphonies, and those disclosed by the following melodies from his
Ninth, should turn out through some incomprehensible revelation to be
mere coincidences:</p>
<p>From the first movement:</p>
<p style="text-align: center">
<ANTIMG src="images/music13.png" alt="Beethoven 9th symphony 1st movement" width-obs="737" height-obs="80" /></p>
<p style="text-align: center">
<SPAN href="music/music13.midi">Listen</SPAN> <SPAN href="music/music13.ly">View Lilypond</SPAN></p>
<p>From the second:</p>
<p style="text-align: center">
<ANTIMG src="images/music14.png" alt="Beethoven 9th symphony 2d movement" width-obs="741" height-obs="184" /></p>
<p style="text-align: center">
<SPAN href="music/music14.midi">Listen</SPAN> 
<SPAN href="music/music14.ly">View Lilypond</SPAN></p>
<p style="text-align: center">
<ANTIMG src="images/music15.png" alt="Beethoven 9th symphony 2d movement" width-obs="742" height-obs="71" /></p>
<p style="text-align: center">
<SPAN href="music/music15.midi">Listen</SPAN> 
<SPAN href="music/music15.ly">View Lilypond</SPAN></p>
<p style="text-align: center">
<ANTIMG src="images/music16.png" alt="Beethoven 9th symphony 2d movement" width-obs="736" height-obs="77" /></p>
<p style="text-align: center">
<SPAN href="music/music16.midi">Listen</SPAN> 
<SPAN href="music/music16.ly">View Lilypond</SPAN></p>
<p>The choral melody:<span class="pagenum"><SPAN name="Page_35" id="Page_35"></SPAN></span></p>
<p style="text-align: center">
<ANTIMG src="images/music17.png" alt="Beethoven 9th symphony choral melody" width-obs="743" height-obs="73" /></p>
<p style="text-align: center">
<SPAN href="music/music17.midi">Listen</SPAN> 
<SPAN href="music/music17.ly">View Lilypond</SPAN></p>
<div class="sidenote"><i>Design and Form.</i></div>
<p>From a recognition of the beginnings of design, to which
identification of the composer's thematic material and its simpler
relationships will lead, to so much knowledge of Form as will enable
the reader to understand the later chapters in this book, is but a
step.</p>
<hr style="width: 65%;" />
<p style="text-align: center">
<ANTIMG src="images/deco04.png" alt="Decoration" width-obs="300" height-obs="80" /></p>
<p><span class="pagenum"><SPAN name="Page_36" id="Page_36"></SPAN></span></p>
<div style="break-after:column;"></div><br />
1 of 2
2 of 2
Previous
Next
Update Required
To play the media you will need to either update your browser to a recent version or update your Flash plugin.