Musical form
In music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."
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- enIn music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."
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- enIn music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener." Form refers to the largest shape of the composition. Form in music is the result of the interaction of the four structural elements described above [sound, harmony, melody, rhythm]." These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through the expansion and development of these ideas. In tonal harmony, form is articulated primarily through cadences, phrases, and periods. "Form refers to the larger shape of the composition. Form in music is the result of the interaction of the four structural elements," of sound, harmony, melody, and rhythm. Compositions that do not follow a fixed structure and rely more on improvisation are considered free-form. A fantasia is an example of this. Composer Debussy in 1907 wrote that, "I am more and more convinced that music is not, in essence, a thing that can be cast into a traditional and fixed form. It is made up of colors and rhythms."
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- Musical form
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- enMusical form
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- archive.org/details/cu31924022495018
- www.robertkelleyphd.com/form.htm
- alanbelkinmusic.com/bk/index.html
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- Accent (music)
- Alfred Mann (musicologist)
- Arch form
- Ballet
- Bar (music)
- Baroque dance
- Beat (music)
- Bridge (music)
- Cadence
- Category:Musical form
- Cell (music)
- Chaconne
- Coda (music)
- Common meter
- Concerto
- Concerto grosso
- Counterpoint
- Craig M. Wright
- Czardas
- Debussy
- Descant
- Developing variation
- Development (sonata form)
- Division (music)
- Exposition (music)
- Fantasia (music)
- Figure (music)
- File:Greensleeves.gif
- Fugue
- Galliard
- Greensleeves
- Ground bass
- Harmony
- Harmony (music)
- Introduction (music)
- Jeff Todd Titon
- List of musical genres by era
- Medley (music)
- Melody
- Meter (music)
- Minuet
- Motif (music)
- Movement (music)
- Musical analysis
- Musical composition
- Musical improvisation
- Musical piece
- Opera
- Oratorio
- Orchestration
- Ostinato
- Passacaglia
- Period (music)
- Polyphony
- Potpourri (music)
- Program music
- Pulse (music)
- Recapitulation (music)
- Refrain
- Repetition (music)
- Rhythm
- Ritornello
- Rondo
- Sentence (music)
- Solo (music)
- Sonata
- Song cycle
- Song-cycle
- Strophic form
- Suite (music)
- Symphony
- Ternary form
- Theme (music)
- Theme and variations
- Theme and Variations
- Through-composed
- Tonality
- Twelve bar blues
- Twelve-bar blues
- Variation (music)
- Verse (music)
- Verse form
- Reference
- enBeach, David. 1993. "Schubert's Experiments with Sonata Form: Formal-Tonal Design versus Underlying Structure", Music Theory Spectrum 15: 1-18.
- enBurnham, Scott. 2001. "Form", Cambridge History of Western Music Theory, Th. Christensen ed. Cambridge: CUP: 880-906.
- enCadwallader, Allen. 1990. "Form and Tonal Process. The Design of Different Structural Levels". Trends in Schenkerian Research, A. Cadwallader ed. New York, etc.: Schirmer Books: 1-21.
- enCecchi, Alessandro . 2015. Schenker's Formenlehre. Rivista di Analisi e Teoria Musicale XXI, No. 2.
- enChester, Andrew. 1970. "Second Thoughts on a Rock Aesthetic: The Band". The New Left Review 1, no. 62 : 78–79. Reprinted in On Record: Rock, Pop, and the Written Word, edited by Simon Frith and Andrew Goodwin, 315–19. New York: Pantheon, 1990.
- enHooper, Jason. 2011. "Heinrich Schenker's Early Conception of Form, 1895-1914". Theory and Practice 36: 35-64.
- enKeil, Charles. 1987. "Participatory Discrepancies and the Power of Music". Cultural Anthropology 2, No. 3 : 275–83.
- enLaskowski, Larry. 1990. "J.S. Bach's 'Binary' Dance Movements: Form and Voice-Leading", Schenker Studies, H. Siegel ed. Cambridge: CUP: 84-93.
- enSchmalfeldt, Janet. 1991. "Towards a Reconciliation of Schenkerian Concepts with Traditional and Recent Theories of Form", Music Analysis 10: 233-287.
- enSchmalfeldt, Janet. 2011. In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music, New York: Oxford University Press.
- enSmith, Charles J. 1996. "Musical Form and Fundamental Structure: An Investigation of Schenker's Formenlehre". Music Analysis 15: 191-297.
- enSmith, Peter. 1994. "Brahms and Schenker: A Mutual Response to Sonata Form", Music Theory Spectrum 16: 77-103.
- enWebster, James. 2009. "Formenlehre in Theory and Practice", Musical Form, Forms, and Formenlehre: Three Methodological Reflections, P. Bergé ed. Leuven: LUP: 123-139.
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