in view was plainly one of orderly variety or contrast, different methods of handling being used in succession so as to maintain interest and give scope for diverse procedures.
Within movements at least four general methods of treatment were recognized, of which the first belonged especially to vocal music and the rest were more associated in this period with instrumental music. First was the method of the da capo aria, a form in three principal sections—the first and second in considerable contrast as to key and style, and the third repeating the first more or less literally—all homophonic in essence, that is, organized with a dominating melody and an accompaniment mainly harmonic. This method was not only universal in the solos and duets of operas, oratorios and cantatas, but was creeping into instrumental works somewhat. It was distinctly the creation of the later 17th century, with its strenuous activity in dramatic music. Second was the method of various dances, in which some characteristic rhythm was worked out in two groups of sharp-cut strains of some definite number of measures (strictly eight), the two set in some contrast, usually with a drift in the first from tonic to dominant harmony and back again in the second. This method was typical in the suite and in all movements in dance style. Its origin was plainly in the field of folk-music and it had been steadily making its way into artistic music since the 15th century. Third was the method of formal or virtual counterpoint, in which several voice-parts were introduced with much individuality and made to proceed according to established rules of imitation or combination. This method was that of all strict church music of the old school and of organ music generally. It had already reached its climax in the formal fugue, both vocal and instrumental, but was liable to appear in the fugal handling of any sort of movement or of a passage within a movement. In it a tripartite division was well recognized—exposition (of the subject or theme), development, recapitulation. Fourth was a new method which may be called the free thematic, which was not controlled by the conventional rules of counterpoint, but operated more homophonically or harmonically in a variety of ways. The lay-out was usually tripartite, as in the fugue, but the artistic effect was strikingly different. This method was becoming common for certain movements of forms like the overture, the sonata and the con-
