The many special musical forms of which the student will read are merely so many clearly defined combinations of these three processes. Thus in the minuet, for example, a comparatively primitive form, there is one theme, expounded, developed, and recapitulated, and in the second part called trio, a second theme treated exactly the same way. In the 'Song form’ so called, used for slow movements of sonatas and symphonies, there is usually an exposition of a theme, a slight development, and an ornamented or otherwise varied repetition; then, without any complete stop, a contrasting theme, treated much the same way; finally, a return of the main theme, either treated as at first or somewhat more briefly. Sometimes there is a short coda (concluding section) with further slight development of one or both themes. The sonata form, as we have already seen, is distinguished from both these more rudimentary types by having two themes of almost equal importance--sometimes three. These contrast with each other in expression, rhythm, and what is called 'key.’ Their development is extended and occupies the entire middle part of the piece. They are regularly recapitulated much as at first, but now both in the same 'key,’ and may be followed by a coda, which with Beethoven assumes sometimes almost the importance of a second development. In the rondo there is a constant alternation between a main theme and other secondary themes or sections of development. Thus in all the special forms we find but different applications of the three fundamental processes of exposition, development, and recapitulation, much as all plants go through the necessary cycle of seeding, growth, and blossoming. The more the music of the great symphonic masters is studied the more marvellous will the reader find the mingling of ingenuity and simplicity with which they know how to marshal their thoughts. Such study makes listening no longer a passive or even wearisome process, but the most fascinating reliving of a spiritual life as many-sided, as infinitely various, as filled with beauty, as that of Nature herself. DANIEL GREGORY MASON. JUNE, 1914. FOOTNOTES: [1] To be exact Emanuel Bach was not responsible for the idea of contrast, which was a principle developed by the so-called Mannheim school, whose leader was Johann Stamitz. But with Bach the two separate sections of the 'Exposition’ first become distinct. A NARRATIVE HISTORY OF MUSIC BOOK I A NARRATIVE HISTORY OF MUSIC INTRODUCTION