At first composers’ ingenuity was exercised in one style only, that of choral music, limited also mainly to sacred music. When that was more or less perfected in the space of some five centuries, instrumental secular style began to emerge; at first leaning on the methods and devices which composers had found out in choral music, and then by degrees, as instrumental music learned to stand alone, making it more completely apt for performance by instruments; which process has gone on till the present day and is still going on. Then, soon after instrumental style began to branch off from the parent stem of choral music, operatic style began to be laboriously devised, and is by degrees still being perfected in the sphere of music drama; then followed the distinct style for various solo instruments, as the style of organ music, the style for various kinds of orchestral music, for chamber music, for domestic music, songs, concert-platform music, various types of modern church music--an ever-increasing variety, each style being the most perfect adaptation to the conditions of presentment and the qualities of instruments as time goes on. Another development of great interest is that of thematic material. Such things as subjects were hardly thought of at first in artistic conditions, as choral music was not adapted to clear definition. That quality began to manifest itself when rhythm began to play its part in instrumental music. Then melodious passages, which were clearly recognizable in themselves, began to make their appearance in operatic arias, but they were for a long time defined more by the conventional periods indicated by cadences of various degrees of finality than by their individual character. This peculiarity of defining subjects persisted almost till the end of the sonata period in the latter part of Beethoven’s life, when he began to divine the possibility of subjects being identifiable for themselves without artificial conventions for marking their boundaries, and gave the impulse to that practice of concentrating interest in short phrases and figures which have intrinsic definition by reason of their characteristic intervals and rhythms, which has become the most universal trait of all later music, gathering force in the romantic period and being developed further by the latest representative composers, who use color, chord positions, even modulation, as well as melodic features, as factors in making their thematic nuclei stand out from their context, and serve the purpose of texts to their discourses--the said texts serving also to suggest as clearly as possible what the composer has in his mind, which he desires to convey to his audience in the most vivid and permanent forms. It is inevitable that all this huge development of artistic resources, which has taken so many centuries of patient and devoted concentration of faculties, should bewilder the ardent and eager latter-day composer who is longing to express himself at once.