Beethoven, striving to make the symphony a vehicle for emotional expression, was compelled to busy himself with changes in the form, and he gave no special study to instrumental effects. He used such new ones as readily suggested themselves to him, but they were nothing more than elaborations of the old conventions. However, the seed sown by Beethoven speedily bloomed in the growth of the new romantic school. The principal tenet of this school was that music must express emotions, and that the form must develop entirely from the emotional purpose and plan of the work. Two distinguished explorers of this new style devoted their highest efforts to the production of orchestral composition. Liszt endeavored to tell stories in music by erasing the dividing line between movements and writing his work all in one piece. He retained the two contrasting themes of the old symphonists, but he asked his hearers to affix a meaning to each of them. Then he proceeded to handle them in much the same way as the symphonists did, working them out, and varying them with much skill, though always with a view to suggesting the development of the incidents of his story. To such a purpose the resources of orchestral color lent mighty aid, and Liszt was not slow to perceive this. He began to draw away from the conventions of the symphonists, and to seek for new and striking instrumental combinations. Nevertheless in his compositions for orchestra Liszt was the debtor of two men much more remarkable than himself, namely, Wagner and Berlioz. From the former he got the idea of the use of themes with definite meanings attached to them. From the latter he obtained the suggestion of the employment of the orchestra to tell stories and much information as to its technics. Berlioz, however, continued the use of separate movements, and his attempts to use definitely representative themes were few and uncertain. He preceded Wagner, nevertheless, in the revelation of the resources of the orchestra, and he antedated Liszt in the use of the orchestra for romantic composition. Later imitators of Berlioz and Liszt failed to perceive anything except the vast color schemes of their orchestration. Borrowing a few of the conventional figures of the older writers, such as Haydn's sea waves and Beethoven's thunder-storms, they asked us to see things through a kaleidoscope of instrumental color. They forgot that we could not understand them when they made no logical appeal to our intelligence.