varied and vital musical content, especially by Mozart, and the recognition of the detached song as an object worthy of serious artistic attention. These movements had some connection with those mentioned above, but were still more akin to the new spirit that was to display itself after 1800. In these two quarters we observe the subjective and romantic impulses of the future already bestirring themselves.
In pure theory the period lacked the guidance of any one leader of the first order of constructive genius, except that of the conservative Martini, but in research and criticism it made great gains, though the literary aspect of the art was still far from mature or adequate. But it is noteworthy that among thinkers of a broad philosophic scope the serious consideration of topics relating to music begins to have a more secure and honorable place.
The great defects of the period were those of the age as a whole, namely, the exaltation of conventional regularity over sincere personal conviction or feeling, and the inevitable drift toward formalism in expression. Yet, although this stage in development naturally produced a great mass of works that now seem manneristic and hollow, it served a purpose in fastening attention upon the purely external charm of tonal patterns and qualities, thus providing invaluable ways and means to the period following. The essential importance of the period is shown by the fact that the styles now known as 'classical,' as they were exemplified by the greater masters, like Haydn and Mozart, not only served as the basis or model for all work in the next period, but have held their place to some degree ever since.
