It can no longer be inferred from the word “Symphony” at the head of an orchestral work that the music is divisible into fairly clearly defined sections, such as, in the first movement, exposition, development and recapitulation. There are, of course, and must be, contrasts in subject-matter, but these contrasts need not be in the places assigned to them by the text-book. Nor need the argument (or development) wait for a double bar, or the recapitulation be anything like a full repetition of the material of the exposition. This does not, by any means, imply a loosening of formal principles: only that the modern composer, in using material—as is mostly the case—that is not strongly anchored to a key-centre, must find other means of making the structure cohere in a logical manner.