No critical review of the development of the tone art is complete without notice of the intellectual and emotional impulses which governed that development, and of the characteristics of the three grand periods into which the history of music is divided. Two primary impulses have operated in the formulation of a system of musical art. These impulses are called Classicism and Romanticism. The terms are very glibly used by many music lovers, but are not definitely understood by all. The ordinary concert-goer, whose terminology is nothing if not vague and unprecise, calls all artistic music, above the level of that heard in operettas or ballrooms, "classic." The term should be strictly applied to those works which have stood the test of time and have by the general consent of enlightened music lovers been accepted as masterpieces. From the fact, however, that the great masterpieces of the classic composers were conspicuous for their development of a clear, symmetrical, and logical form, the term "classical" in music has come to be applied to all works in which pure beauty of form and matter are the most conspicuous features. "Romantic" is applied to music in which the form is made for the immediate purpose of a particular work, and is the direct outgrowth of the thought contained in that work. As Dr. Parry has worded it:-- "'Classical' is used of works which have held their place in general estimation for a considerable time, and of new works which are generally considered to be of the same type and style. Hence the name has come to be especially applied to works in the forms which were adopted by the great masters of the latter part of the last century, as the instrumental works in the sonata form and operas constructed after the received traditions; and in this sense the term was used as the opposite to 'romantic' in the controversy between the musicians who wished to retain absolutely the old forms and those, like Schumann, who wished music to be developed in forms which should be more the free inspiration of the composer and less restricted in their systematic development."