Each dash-dotted rectangular outline used to identify a musical example (or grayscale image between 0 and 100 ppi or between 120 and 150 ppi) on selected pages (printed on the verso pages) of Vincent Phelan’s dissertation “An Analysis of the First Movement of the Concerto for Violin and Orchestra, op. 77 by Johannes Brahms: Applications in Performance” has a solid line that connects to an entry printed on the recto page consisting of a checkbox, author, subject, date/time and description for each instance of a grayscale image between 0 and 100 ppi or between 120 and 150 ppi (e.g., “Author: Preflight, Subject: Resolution of color and grayscale images is between 120 and 150 ppi, Date: 4/28/2020 4:40:42 PM, Resolution of color and grayscale images is between 120 and 150 ppi, Page 59: Color image 450.072x312.792 pt 149.896 ppi RGB [ICC] overprint: off, Image resolution of color and grayscale images is greater than 120 and less than or equal to 150 ppi.”) and each dash-dotted rectangular outline (and dash-dotted line) used to identify an erased “vector (filled) object” or erased “text object” on selected pages (printed on the verso pages) of Vincent Phelan’s dissertation “An Analysis of the First Movement of the Concerto for Violin and Orchestra, op. 77 by Johannes Brahms: Applications in Performance” has a solid line that connects to an entry printed on the recto page consisting of a checkbox, author, subject, date/time and description for each instance of an erased “vector (filled) object” or an erased “text object” (e.g., “Author: Preflight, Subject: Text objects, Date: 4/28/2020 4:40:41 PM, Text objects, Page 40: TimesNewRomanPSMT 12.0 pt TrueType embedded [as a subset] RGB [ICC] [0.13/0.11/0.12] overprint: off, Reports all text objects except for stroked text and text used as a clipping path.”), however, not every solid line connecting from the recto page points to a dash-dotted rectangular outline [or dash-dotted line] on the verso page.
First Movement examples of the 1873 version of Bruckner's Symphony No. 3 in D Minor are on pages 32-36, 52-56, 58, 60, 63-68, 70, 78, 81, 85, 86, 88 and 90-92. First Movement examples of the 1876 version of Bruckner's Symphony No. 3 in D Minor are on pages 42-47 and 84. First Movement examples of the 1877 version of Bruckner's Symphony No. 3 in D Minor are on pages 43-46, 52-54, 56, 58, 60, 63-68, 70, 72, 80, 82, 84-86, 88, 90, 92, 96, 97 and 103. First Movement examples of the 1889 version of Bruckner's Symphony No. 3 in D Minor are on pages 96, 97, 99 and 101. Second Movement examples of the 1873 version of Bruckner's Symphony No. 3 in D Minor are on pages 106, 107, 110-112, 116, 121, 123, 124-126, 129 and 134. A Second Movement example of the 1876 version of Bruckner's Symphony No. 3 in D Minor is on page 116. Second Movement examples of the 1877 version of Bruckner's Symphony No. 3 in D Minor are on pages 121, 123, 124, 126, 129 and 134. A Second Movement example of the 1889 version of Bruckner's Symphony No. 3 in D Minor is on page 138. Third Movement examples of the 1873 version of Bruckner's Symphony No. 3 in D Minor are on pages 140, 141, 143 and 146. Third Movement examples of the 1876 version of Bruckner's Symphony No. 3 in D Minor are on pages 142 and 143. Third Movement examples of the 1877 version of Bruckner's Symphony No. 3 in D Minor is on page 146 and 147. There are no Third Movement examples of the 1889 version of Bruckner's Symphony No. 3 in D Minor. Fourth Movement examples of the 1873 version of Bruckner's Symphony No. 3 in D Minor are on pages 148-152, 155, 156, 160-165, 167, 168, 170, 172, 174-180, 182, 184, 191, 193, 195-199 and 201. Fourth Movement examples of the 1876 version of Bruckner's Symphony No. 3 in D Minor are on pages 155 and 156. Fourth Movement examples of the 1877 version of Bruckner's Symphony No. 3 in D Minor are on pages 160-165, 167, 168, 170, 172, 174-180, 182, 186, 188, 191, 193, 195-198, 201, 205 and 211. Fourth Movement examples of the 1889 version of Bruckner's Symphony No. 3 in D Minor are on pages 205, 207-209 and 211.
Figure 8 (see page 377) is a piano score (or Orchestral Reduction) of Measures 1 through 14 from Anton Webern’s Symphony Op.21 (see Figure 7 on pages 144 and 654).
There are Hand-written Fingerings added for cello in Beethoven's Symphony No. 5, Movement II, for measures 1-10 in the example on page 9, for measures 49-59 in the example on page 13, for measures 98-106 (Fingerings added avoiding the A string) in the examples on pages 15-16, and for measures 114–123 in the example on page 18. There are Hand-written Fingerings added for cello in Beethoven's Symphony No. 8, Movement III, for measures 53-56 in the examples on page 22, and for measures 45-78 in the example on page 23. There are Hand-written Fingerings added (and Bowings added) for cello in Brahms’s Symphony No. 2, Movement II, for measures 1-12 in the example on page 30. There are Hand-written Fingerings added (and Bowings added) for cello in Debussy’s “La Mer,” Movement I, for measures 84–92 in the example on page 40. There are Hand-written Fingerings added (and Fingerings added involving Thumb Position) for cello in Mendelssohn’s A Midsummer Night’s Dream, Op.61, Scherzo, for measures 296-323 in the examples on pages 49-50. There are Hand-written Fingerings added (and Bowings added) for cello in Mozart’s Symphony No. 40, Movement I, for measures 114-138 in the example on page 60 and Hand-written Fingerings added (and Bowings added) for cello in Verdi’s Requiem, Offertorio, for measures 1-29 in the example on page 82.
There are 11 characteristic ways Mozart uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.32-39) on pages 32-39, and there are 2 characteristic ways Haydn uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.47-48) on pages 47 and 48, and there are 13 characteristic ways Beethoven uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.55-69) on pages 55-69, and there are 3 characteristic ways Schubert uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.71-73) on pages 71-73, and there are 2 characteristic ways Weber uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.75-76) on pages 75 and 76, and there are 12 characteristic ways Berlioz uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.80-94) on pages 80-94, and there are 5 characteristic ways Mendelssohn uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.96-99) on pages 96-99, and there are 4 characteristic ways Schumann uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.100-104) on pages 100-104, and there are 12 characteristic ways Wagner uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.107-119) on pages 107-119, and there are 5 characteristic ways Liszt uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.121-125) on pages 121-125, and there are 8 characteristic ways Brahms uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.128-135,) on pages 128-135, and there 5 characteristic ways Bruckner uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.137-141) on pages 137-141, and there are 6 characteristic ways Franck uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.145-148) on pages 145-148, and there are 4 characteristic ways Dvorak uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.150-153) on pages 150-153, and there are 6 characteristic ways Tchaikovsky uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.155-160) on pages 155-160, and there are 4 characteristic ways Rimsky-Korsakov uses the clarinet in the symphony orchestra that are shown by example (McIver, 1950, p.162-167) on pages 162-167.
Measures 7-11 from Vivaldi’s Violin Concerto in E Major (Op.3 No.12, 3rd mvt.) on page 77 are hypothetically recomposed and also shown on page 77. Measures 26-29 of Vivaldi's Concerto for 4 Violins and Cello in F Major (Op. 3 No.7, 2nd mvt.) on page 128 are hypothetically recomposed and also shown on page 128. Measures 7-9 from Vivaldi's Violin Concerto in C Major (Op. 4 No.7, 1st mvt.) on page 130 are hypothetically recomposed and also shown on page 130. Measures 57-61 from Vivaldi's "Beatus vir" in B-flat Major (RV 598) on page 177 are hypothetically recomposed and also shown on page 177. Measures 1-8 from Vivaldi’s “Salve Regina” (RV 617, 2nd mvt.) on page 213 are hypothetically recomposed and shown on page 214. Finally, measures 1-6 from Vivaldi's Violin Concerto in G Major (Op. 4 No. 3, 1st mvt.) on page 221 are hypothetically recomposed three times, the first on page 223 shows the violin parts simplified and combined, the second on page 233 shows a hypothetically modified viola part and the third on page 233 shows a different hypothetically modified viola part.
Music examples 1 through 51 are in the public domain whereas examples 52 though 77 are of copyrighted material (except example 75). The holders of the copyrighted material are Boosey & Hawkes, W.W. Norton & Company, and G. Schrimer Co. and the holder of the public domain materials are Dover Publications. The 77 music examples were compiled by Lisa Renteria for a document submitted to the faculty of the School of Music at the University of Arizona. Appendixes D - G (pages 115-119) include the letters from the publishers to Ms. Renteria regarding use of their materials. (Note: In examples that feature two bassoon parts, the soloist plays the bassoon I part.)