But it has to be remembered that, in order to find any method of organization serviceable, the auditor must have gone through some of the steps which enable him to follow the procedure. It is here that certain perplexing incapacities will find their explanation. It frequently happens that a person of considerable musical culture is amazed to find that some passage which he regards as one of the noblest and most moving in the whole range of art leaves the majority of average audiences entirely blank and unmoved--and this may happen with people who are constantly hearing music. It happens most frequently when a person who cultivates late phases of instrumental music is brought into contact with the finest choral music of the sixteenth century. The meaning and purpose of the several motions have not come under his attention and he has no clue whatever to the scheme of organization. The contempt with which the complacent classicist of the sonata period looked down upon the form of the fugue was owing to musicians having broken altogether for the time with organization of the fugal type and having become incapable of listening to and understanding the motions of two or three independent parts at once. For here it will be as well to observe that every step in the building up of art by the addition of notes to a scale, of new chords which were devised, and of methods and devices of all sorts had special functions when they were invented, just as much as every conceivable feature in architecture had a function. But mankind always forgot the original meaning very soon and applied the various features to other purposes, most of which were quite without meaning and merely served for barren show. And it is this forgetfulness which makes so many people totally indifferent to the finest artistic achievements. They are expressed in a language they do not understand.