Chapter 6: Musical Form+

Form in Music

  • Form can be thought of as the organization principle of structures

  • Basic elements are repetition, contrast, and variation.

  • In music, this might use features such as

    • Planned structures (we will talk more about these when we get to later chapters)

    • Melodic repetition

    • Ordering of timbres

    • text rhyme (for songs)

    • Rhythmic ostinatos (do Reich clapping music

2. Strophic Form (repetition)

  • Common in songs.

  • Features repeated music for each stanza (strophe) of text.

  •  like in Jingle Bells or Silent Night

  • repetition binds the song together

3. Through-Composed Form (no repetition)

  • No large repeated sections

  • this is the direct opposite of strophic form

Variation Form:

  • form that falls between repetition and contrast

  • when some aspects of the music are altered but the original is still recognizable

4. Binary and Ternary Forms:

  • Binary form = (A-B)  based on a statement  and a departure without a return to the opening section (two part)

  • ternary form = (A-B-A) extends the idea of statement and departure by bringing back the first section (favoured by architects, painters and composers) (three part)

  • both basic structures in music and found in short pieces like songs and dances.

5. Theme and Motives:

  • A theme is a melodic idea is used as a building block in a large-scale work.

  • Sequences result when a motive is repeated at a different pitch (restatement)

  • Thematic development or expansion involves varying the melody, rhythm, or harmony (this is one of the most important techniques in music, requires imagination and craft) (for more longer pieces)

  • Within a theme, a small fragment forming a melodic rhythmic unit is called a motive

  • Motives are small component fragments of a theme, forms a melodic rhythmic unit

  • Motives are the cells of musical growth (they are the building blocks)

6. Call and Response:

  • Many cultures use call and response or responsorial music.

  • It involves a repetitive style with a soloist and a group.

  • one formal practice based on repetition

  • a repetitive style

  • call and response = predominant in early western church music and in music of African native American and African American cultures, a singing leader is imitated or answered by A Chorus of followers. this is a typical seeing style for spirituals and gospel music. 

  • Responsorial music. = soloist alternates with choir (seen in Gregorian chant)

7. Improvisation:

  • Some music is created spontaneously in performance through improvisation

  • In Works based mostly on improvisation

    • baroque ornamentation, cadenzas of concertos, jazz Rock and certain non-western styles

  • where repetition, contrast  and variation all play a role

8. Ostinato:

  • Ostinato is the repetition of a short melodic, rhythmic, or harmonic pattern.

  • The use of a short musical pattern—melodic, rhythmic, or harmonic—repeated throughout a work.

  • Prevalent in popular styles such as blues, jazz, rock, and rock.

9. Large-Scale Compositions:

  • Symphonies and sonatas are divided into sections or movements.

10. Structure and Design in Music:

  • Music mirrors life with basic elements of repetition and contrast.

  • Every kind of musical work has a conscious structure

  • Strophic form and through-composed form are common

  • Whatever the length or style of a composition, it will show the principles of repetition and contrast.

  • Thematic development, call and response, and ostinato are key techniques.

17. Music Composition as an Organic Form

  • Music composition is an organic form where individual notes are bound together within the phrase

  • Phrases, themes, sections, movements, and entire compositions adhere to principles of repetition and contrast.

  • movement = a section or complete, self contained part within a larger musical work