y
introducing contrasting material, and by choice of key.

134. The student should note at the outset of this topic the _difference
in meaning between_ the terms _form_ and _style_: A _form_ is a plan
for building a certain definite kind of composition, but a _style_ is
merely a manner of writing. Thus _e.g._, the _fugue_ is a
_form_--_i.e._, it is a plan, which although capable of variation in
details, is yet carried out fairly definitely in every case; but
_counterpoint_ is merely a _style_ or manner of writing (just as Gothic
architecture is a style of building), which may be cast into any one of
several _forms_.

135. The material found in the following sections is an attempt to
explain in simple language certain terms relating to _forms_ and
_styles_ which are in common use; in many cases the definition is too
meagre to give anything but a very general idea, but it is hoped that
the student will at least be set to thinking and that he will eventually
be led to a more detailed and scholarly study of the subject. (The
article "Form" and the separate articles under each term here defined,
as found in Grove's Dictionary, are especially recommended. For examples
of the various forms described, see also Mason and Surette--"The
Appreciation of Music," Supplementary Volume.)

136. In a very general way there may be said to be _two styles of
musical composition_, the monophonic (or homophonic)--the
one-voiced--and the polyphonic--the many voiced. The polyphonic[32]
style antedates the monophonic historically.

[Footnote 32: Polyphonic music flourished from 1000 A.D. to about 1750
A.D., the culmination of the polyphonic period being reached in the
music of Johann Sebastian Bach (1685-1750). Haydn, Mozart, Beethoven,
and the later writers have used the monophonic style more than the
polyphonic, although a combination of the two is often found, as _e.g._,
in the later works of Beethoven.]

137. In _monophonic music_ there is one voice which has a pronounced
melody, the other voices (if present) supporting this melody as a
harmonic (and often rhythmic) background. An example of this is the
ordinary hymn-tune with its melody in the highest part, and with three
other voices forming a "four-part harmony." The sonata, symphony, opera,
modern piano piece, etc., are also largely _monophonic_, though
polyphonic passages by way of contrast are often to be found.

138. In _polyphonic music_ each voice is to a certain extent melod