and--especially in older sonatas--repetition-marks; the repetition of
the Exposition being justly considered important, as a means of
emphasizing the "statement," and enforcing the hearer's attention to
the thematic contents before preceding to their development in the
second division of the form. In the sonatine-form, on the contrary,
this positive termination of the Exposition (and consequently the
double-bar and repetition) will very rarely be found.

THE DEVELOPMENT, OR MIDDLE DIVISION. The second division of the
sonata-allegro form is devoted to a more or less extensive and
elaborate manipulation and combination of such figures, motives,
phrases or Parts of the Exposition as prove inviting and convenient for
the purpose, or challenge the imaginative faculty of the composer. In
this division, opportunity is provided for the exhibition of technical
skill, imagination and emotional passion; for the creation of ingenious
contrasts and climaxes, and, in a word, for the development of
unexpected resources not strikingly manifest in the more sober
presentation of the thematic factors during the Exposition. The
intermingling of _new material_ is naturally also involved in the
process of development; sometimes to such an extent that the new
predominates over the old,--in which case the middle Division is more
properly called an EPISODE.

This second Division of the sonata-allegro form (the Development or
Episode) corresponds precisely, as will be recognized, to the second
Part of the Three-Part Song-form; consequently, it represents the
"departure" (see page 90), and entails, in rational form, the
significant "return" to the beginning. Further, it matches to some
degree the "digression" in the rondo-forms. At all events, its
important structural function is to establish contrast; and the
necessity for corroboration of the leading thematic ideas--in
consequence of this contrast--is satisfied in the Division which
succeeds.

It is sometimes possible to mark the exact point where the Development
ends and the process of re-transition commences; but usually the return
to the beginning is accomplished so gradually that no sensible
interruption occurs.

THE RECAPITULATION.--This, the third Division, is, as usual, a review
of the original presentation of the thematic material,--the recurrence
of the Exposition. It is sometimes a nearly exact reproduction,
_excepting the necessary change of key in the Subordinate th