ents in this form, if he thinks he is receiving the
complete message of the music, is his own dupe. It would be as logical
to expect to enjoy the beauties of architecture without perceiving the
difference between a nave and a bowling-alley. The obvious way to
understand the meaning of a language is to know something of the
principles of structure and expression in that language. Music is in
very truth a language; and far too many people get from it nothing
save the appeal which comes from its emotional power. This exciting
experience is important, we may frankly acknowledge, but there are no
reasons, save apathy and indifference, why the hearer should not have
all this and more too. There is no conflict between warm emotions and
an intelligent, well-trained mind. They should go hand in hand; and in
any complete artistic appreciation each is indispensable.[95]

[Footnote 94: See the eloquent comments on this analogy by d'Indy in
his _Course in Composition_, Vol. II, Chap. 5.]

[Footnote 95: "Art is not more a riot of the passions than it is a
debauch of the senses; it contains, no doubt, sensuous and emotional
elements, the importance of which there is no need to undervalue, but
it is only artistic if it subordinate them to the paramount claims of
reason." W.H. Hadow, _Studies in Modern Music_ (second series),
preface.]

The three main divisions of the Sonata-Form, with their essential
features, are the following: (1) the Exposition, in which two themes
in different tonalities are announced for the consideration--and, as
the composer hopes, the pleasure--of the hearer. In the works of Haydn
and Mozart this contrast of key was invariably that of Tonic and
Dominant, _e.g._, C major and G major, or of major and relative minor,
_e.g._, A-flat major and F minor. Beginning, however, with Beethoven
great emphasis has been laid on _mediant_ relationship, _e.g._, C
major and E major or C major and A-flat major; and in modern
composers[96] this more stimulating change has largely superseded the
former tonic and dominant grouping, _e.g._, Brahms's _Third Symphony_.
We thus see that the harmonic feature of the Exposition is _Duality_
of Key-relationship. Between these two main themes there is always a
modulatory connection or Bridge Passage which, in the time of Haydn,
was generally of a very perfunctory, stereotyped character. Wagner
once sarcastically remarked that Haydn's transitions reminded him of
the clatter of dishes betwe