In a symphonic movement the first part--save in such notable exceptions as the first movement of the “Eroica” of Beethoven--contains all the thematic material, the second contains what is called the “development” of the material stated in the first, and the third part restates the first with such changes as shall give it new significance. It is in this synthetic quality that much of the greatness of symphonic music lies. No other quality, however fine in itself, can take its place. Schumann, for example, created interesting and beautiful themes in profusion, but his compositions in the larger forms lack a complete synthesis. Bach was the greatest master in this respect. So perfect is the ordering of his material that it gives that impression of inevitability which distinguishes all great art everywhere. It is obvious enough that parallels to this form will be found in literature, for it is a part of life and nature. It is youth, manhood, and old age; it is sunrise, noon, and sunset; it is spring, summer, and winter. So it must be; for art is only life in terms of beauty, and human life is only nature expressing itself in terms of man and woman. This then is the thing we call music: rhythm, melody, and harmony arranged into forms of beauty, existing in time. It is without meaning, it is without “subject,” it is without idea. It creates a world of its own, fictitious, fabulous, and irrelevant--a world of sound, evanescent yet indestructible. III. THE SIGNIFICANCE OF MUSIC Music deals first of all with feeling or emotion. But since emotion may be guided by the mind and transfused by the imagination,--since emotion is not a separate and isolated part of our being,--so music may be so ordered by the mind and so transfused by the imagination as to become intellectual and imaginative. It is true that the greater part of the music produced and performed deals only with emotion, but this is equally true of literature. The popular novel is nine tenths emotion, one tenth mind, and the rest imagination. So it is with music, though such illogical invention as one constantly finds in many popular novels would be intolerable in any music. Since there seems to be an incongruity between the statement that music has no definite meaning and the statement that it is intellectual, let us take a specific illustration and see if we cannot reconcile the apparent confliction.