Module5-ForminMusic
Formreferstothelayoutofapieceofmusicfrombeginningtoend.Itisthe
structureofthemes,rhythms,patternsandothermusicalconceptsthatformthe
designofamusicalselection.Formcanbeeasytohearinshortand/orrepetitive
piecescommontoone’sownculture.Inlongerandculturallyforeignworksthe
formcanbedifficulttorecognizewithoutpriorunderstandingandanalysis.Thisis
becausemusicalformsarevariedintheirconstructionandnotlimitedtoanyone
elementofmusicasapointofemphasis.Thebuildingblocksofformcanbe
melodies,rhythms,chordprogressions,instrumentation,timbres,dynamics,and
lyrics.Composersuserepetition,contrast,variation,growth,anddeclinetocreate
expectationandtodevelopthesebuildingblocks.
Formsaretiedtotheaestheticsoftheculturesthatcreatethem.Theformof
themusiccanfollowstrictlylaidoutceremonylikeintheRomanCatholicMassorit
canbesymbolicoflargerculturalandsocialformationslikethepolyphonic,cyclical
formsfoundinIndonesiangamelan.Formscanbetheproductsofevolutiontoa
genreovertime.Thisisevidentinmodernpopularaestheticsthatvaluetheshort
lengthofapiece.Themodernlengthofapopsongisadirectresultofthe
limitationsplacedonlongerjazz,blues,andragtimeworksintheearlytwentieth
centurybyearlyrecordingequipment.Ten-inchrecordscouldonlyholdbetween
threetofiveminutesofmusiconaside(withouthavingtocompressthegrooves,
thusdiminishingquality).Thechangetoaformovertimeisalsoevidentinthe
evolutionofMedievalandRenaissancedancesuitesintomulti-movementformsthat
eventuallybecamethesonatacycleformusedtostructuresymphonies,string
quartets,sonatas,andconcertosintheeighteenthcentury.Enjoymentofthese
genresistiedtodevelopinganaestheticforappreciationofhowacomposerutilizes
formtocreateawork.
Perhapstheoppositeofthe“Classical”decorumthatmanifestsintheformal
emphasisisthe“FreeJazz”movementthatbeganinthelate1950’s.Thisgenreof
musicwasspearheadedbyblackAmericansatatimewhensegregationandracial
inequalityinpartsofAmericawerethenorm.Thecivil-rightsmovementchallenged
theestablishednorms.Free-jazzmusicianschallengedthemelodic,rhythmic,
formal,andharmonicnormsofestablishedpracticeinjazz.Inpure“freejazz”itis
possiblethatthemusiciansarenotfamiliarwitheachother,thattheensembleisa
unconventionalmixofinstruments,andthatthemusicianscompletelyimproviseall
aspectsofthemusic.Thisisoneofthefewgenresofmusicinwhichmusicianshave
libertytocompletely“makeituponthespot”.
Improvisationisanimportantaspectofmanymusicalgenres.Becausethe
improvisationisgenerallyaspontaneouscompositionofmaterialthatis
appropriatewithinthecontextscholarsareshyingawayfromcallingimprovisation
“makingituponthespot”.Itisappropriatetocallitcomposinginthemoment.
Inmostgenresofjazz(andothermusic),musiciansusefreedomto
spontaneouslyputtogetherpre-conceived/practicedmusicalideas(improvise).
Theseideasarearrangedoverpre-conceivedformsutilizingspecificscales.The
harmoniesandrhythmsarealsostandardized.Instandardjazzgenreslikebig
bandswingtheimprovisedaspectoftheperformanceislimitedtoshortermelodic
solos“overtheform”.Thesesolosaresmallfeatureswithinacomplexarrangement
ofsoundsthatrequiresmostmusicianstoreadthemusicwhileperforming.Inbebopandmorecontemporaryjazz“combo”settingsmusiciansgenerallyhavemore
freedomtoimproviselongersolosanddevelopideas.
Thereismuchdebateoverthedefinitionofjazz.Historicallyitisastyleof
musicthatoriginatedatthebeginningofthe20thcenturyinAfricanAmerican
communitiesintheUnitedStatesfromaconfluenceofAfricanandEuropeanmusic
traditions.Somesaythatitisahistoricalgenrethatreliesheavilyonimprovisation
overswingingrhythmsandbluesprogressions.Otherssaythatjazzisaliveandwell
inanymusicianwhowantstoexpressthemselvesthroughmelodicimprovisation
overAmericanstylerhythmsandchordprogressions.Whicheverthecase;thekey
aestheticvalueforjazzisexpressionthroughimprovisationofmelody.Toalesser
extentthisisalsothecasewithotherAmericangenresofmusic.Improvisedsolos
areexpectedintraditionalblues,gospel,psychedelicrock,jam-band,salsa,and
countrybasedgenreslikeoldtimeandbluegrass.Inhip-hopfreestylingtherapper
improvisespoetryrhythmicallyoverrhythmicostinatoscalled“instrumentals”.
Therearemanyculturesaroundtheglobethatshareanaestheticpreference
formusicinwhichsomeaspectofthepieceisimprovised.InEwedrummingof
WestAfricamasterdrummersimprovisepatternsinresponsetotheformandtothe
dancers.InIndianandMiddleEasternmusicthesubtledevelopmentofthescale
(raga/maqam)throughimprovisationisafeatureofmuchmusic.Todothiswith
passionandartistry(soul)isthegoalofmanymusicians.Compositionscanlast
overanhourwhentheperformancesareinspired.
IntheEuropean“classical”traditionmodernaudiencesassociatethe
legendarycomposers(Beethoven,Bach,Mozart,etc…)withcompositionsthatthey
wroteonpaper.Thesecompositionshappenedprevioustoperformance.Modern
audiencesofWesternArtmusicknowthateachtimetheyhearthesecompositions
(masterworks)theywillnotincludeimprovisation.What“classical”musicfans
valuearedifferencesininterpretation.Thiscouldbedifferenttempos,dynamics,
timbres,orsubtlevariationsinexpressionbroughtoutbyconductorsormusicians.
Tothosewitha“taste”forthismusicthesevariationsarewhatgiveitlife.Aesthetes
formpreferencesbasedupontheirexperiencewithdifferinginterpretationsofthe
art.Theuntrainedeartendstoclaim,“itallsoundsthesame”.Thissamenessmight
alsobeareflectionofthelackofimprovisationinWesternArtmusicatthe
beginningofthe21stcentury.FormuchofthehistoryofWesternArtmusic
composerswerealsoperformers.Manywrotepiecestofeaturethemselvesonan
instrument.ItisdocumentedthatBach,Handel,Mozart,Beethoven,Chopin,and
othersweremasterimprovisers.Somewouldevenduelontheirinstrument(much
likebattlinginhip-hopmusicanddanceorcuttingheadsinjazz).Imagine
attendingasymphonyconcertthatincludedamusicalduel.
Repetition,variation,andcontrast
Aslistenerswerecognizetherepetitionmusicalideas.Whenmusicians
structureaformtheyutilizerepetitionofmelodies,rhythms,chordprogressions,
andmetriccyclestocreateorganizationunits.Smallmusicalideasthatare
developedandrepeatedthroughoutapiecearecalledmotives.Ahighly
recognizableexampleofamotiveusedinWesternArtMusicisthe“three-shortsand
along”motivethatisheardatthebeginningofBeethoven’sSymphonyNo.5.Ifa
motiveisrepeatedcontinuouslyitisreferredtoasanostinato.Themesare
generallylonger(ormoresubstantial)thanmotives.Themesaremelodiesor
rhythmsthatarerepeatedorvariedthroughoutamusicalwork.
Ostinatobasedform
Sometimesentirepiecesofmusicarebasedupontherepetitionofone
ostinato.ThisisthecaseinseveraltraditionalAfricangenressuchasGnawamusic
ofNorthAfrica.Gnawamusiccontainsrepetitivechantingthataccompanies
religioustranceandcanbeperformedforhours.Thissamerepetitiveostinatois
heardinreligiouschantingofmantrasinmanyreligioustraditions.InIndia,Kirtan
isaformofchantandprayerutilizedbyHindis,Sikhs,andsomeBuddhists.Ina
Kirtanperformancecallandresponseformisusedoverostinatostocreatetheform.
InCallandResponseamusicalleadersingsorplaysalineofmusicandthechorus
(ensemble)ofmusiciansrespondsinunison.InKirtanandinGriottraditionsof
WestAfricatheleadertellshistoricalandreligiousstoriesinthecall.Thevariation
ofthestoriessatisfiestheneedforcontrastinthesetraditions.InEuropean
traditionsostinatoformswereoftenbasedonrepetitivebasslines(groundbass)
andchordprogressions(chaconne).NotableamongtheseworksistheBaroque
CannoninDbyJohannPachelbel.Thispiececanoftenbeheardaprocessional
ceremonieslikeweddings.Melodicvariationisoftenusedtocreatecontrastin
Europeanworks.
Moreoftenitisthecasethatsectionsofalargerworkutilizeostinatos.In
popmusicarepeatedostinatoisoftenreferredtoasariff.InjazzandLatinmusicit
mightbecalledavamp.InIndianmusicitiscalledalahara.InAfricandrummingit
issimplyarhythmthatmusiciansperformuntilamasterdrummersignalsthe
switchtoanewsection.MinimalismisaWesternArtmusicmovementofthelate
twentiethcenturyinwhichcomposersutilizedsimplerepeatedpatternstobuild
largerworks.SomeofthemostfamousminimalistcomposersaretheAmericans
PhilipGlass,SteveReichandJohnAdams.GlassandReichbothacknowledgethe
influenceofostinatobasedformsfoundinIndianandAfricanmusic.
Cyclicforms
Whenthesectionthatrepeatsislongerthananostinatothentheformis
consideredtobecyclic.Likeostinatosthecyclesthatarerepeatedcanbemelodic,
harmonic,orrhythmic.Repeatedmelodiescreatethetraditionalliubanandbaban
formsofthetraditionalChinesefolkmusiccalledJiangnanSizhu.Twoprimarycycle
lengthsareusedformanyoftheworks.Thesecyclesaremelodiesof60or64beats
inlength(Thrasher,1989).Musiciansperformthemelodyoverandover.Eachtime
musiciansareexpectedtoembellishthemelodiesandaddtheirownpersonal
treatments.Thisisreferredtoas“addingflowers”.
ThiscyclicalmelodicformisakintothestrophicformsofWesternmusic.
Strophicreferstoaforminwhichmusicalelementsremain(largely)thesamewith
eachrepetitionofasectionwhilesomeelementorlyricschange.Itisoftenthecase
thattheonlychangingaspectforeachstropheisthelyric.Thisisthecasemany
traditionalcorridosofMexicoandAmerica.Insuchworkseachsectionofmusic
repeatsthesamemelody,harmony,andrhythmunderthechanginglyrics.
Inmanyjazzpiecesarecurringchordprogressionservesasthefoundationof
thepiece.Oneofthemostcommonchordprogressionsutilizedinjazzisthetwelvebarbluesprogression.Eachtimethroughthechordprogressionisreferredtoasa
chorus.Atypicaljazzarrangementwouldhaveawrittenmelodycalled“thehead”
playedoverfirstchorus.Aftertheheadisperformedthemusicianswilldecideon
anorderformelodicandrhythmicsolosinthefollowingchoruses.When
performinglive,thesoloistsarefreetokeepgoingaslongastheywant.Thepiece
typicallythenendswithanotherperformanceofthehead.Figure1illustratesthis
cyclicalforminJoe“King”Oliver’spieceWestEndBluesasitappearsinthefamous
recordingmadebyLouisArmstrongandhisHotFiveonJune28,1928.
IntroductionslikeArmstrong’sopeningtrumpetsolo,andcodas(outros),are
superfluousadditionstotheform.
Figure1:WestEndBluescyclic12barbluesform
Intro-
Blues
Blues
Blues
Blues
Blues
progression: progression: progression: progression:
progression:
Chorus1
Chorus2
Chorus3
Chorus4
Chorus5
Solo
Head
Trombone
Vocaland
PianoSolo:
Head
Trumpet Polyphonic Solo:
Clarinet
Improvised
Armstrong
presentation Improvised solo:
melodicsoloin departs
ofthe
melodicsolo Calland
righthandwith from
written
response
lefthand
replaying
melodyon
style
harmonic
thewritten
trumpet
improvised accompaniment melody,
with
soloby
instead
counter
Armstrong
improvising
melodies
scatsinging
alongwith
playedon
with
clarinetand
clarinetand
clarinet
trombone
trombone
Sectionalforms
Sectionalformshappenwhenthemusicalpiececontainsmultiple,
identifiablesections.Sometimesthesesectionsarecompletelydifferentanddonot
repeat.Itisoftenthatapieceofmusicwillreturntoonesection.Thiscreatesa
senseofexpectationfulfilledwithinthemusic.
Sectionalformswithcycles
Gamelan
Layeredcyclesthatchangeindifferingsectionsofapieceareafeatureof
severalAsianmusicalgenres.Sometimesthepieceswillhaveanintroduction
sectionbeforethecyclesbegin.InJavaneseGamelantherearebothrhythmicand
melodiccyclesatthecoreoftheform.Inketawang(16beatcycle)workseachgong
cycleconstitutestherepeatingformofthepiece.Cyclicalmelodiesofvarying
lengthsandspeedsarelayeredontopofthegongcycle.Thekendhangdrumguides
playersbysignalingchangesovertheconstantgongcycle.
ArabicMusic
InmuchEgyptian(Arabic)musicsectionsofmusicareoftenrepeatedas
manytimesastheperformerchooses.Intraditionalperformancesthemelodies
(maqam)arevariedandexpandedthroughimprovisationineachcycle.The
ultimateaestheticgoalistobringaboutstateofemotionalexcitementorecstasy.
Theefforttoexploreandheightenanemotionthroughmusicisnotable.This
practiceresultsinperformanceswhereitiscommonforonepiecetolastoverand
hour.OumKulthumisafamousEgyptiansingerthatisreveredforheremotive
impact.Sheperformedwithanorchestra(takht)filledwithvirtuosomusicians.She
wasfavoredforhertraditionalArabicpresentationatatimewhenWestern
influencesandaestheticswerechallengedinEgypt.Muchmusicthatsheperformed
hasbecomepartofacannonofArabicmusic.Oneofthesongsthatshepopularized
istitledAnaFiIntizarak.Inthispiecethereareseveralsectionsthatbuildforover
thirtyminutesasKulthumincreasestheemotion.Theformalarrangementofthese
sectionsiscomplexbecauseitisbaseduponthepoemthatisbeingsung.
Occasionallythepiecereturnstoaninstrumentalchorusthatisheardatthe
introduction.Themusicologist,composer,performer,andArabicscholarDavid
Marcuswroteinanemailtotheauthor:
“Intermsoflyricsandemotion,AnaFiIntizarak'ssingerisgettingmoreand
moredistressedineachverse,asshewaitsandimagineseachfootsteptobethe
arrivalofherlover,whonevercomes.It'sasifsheisslowlygoingcrazy,andthen
eachYaReytchorus("IwishIhadneverfalleninlove!")releasestheenergy.The
songisinEgyptianColloquial(orSpoken)Arabic,asopposedtoFormal(or
Classical)Arabic.”(Marcus,2017)
ThecyclicformallowedKulthumtocustomizeeachperformanceextendingor
contractingthelengthofworksbasedupontheemotionalcontent,audience
responseandcreativity.
HindustaniMusic
InHindustanimusicaltraditionsimprovisatoryexplorationsofragasand
talastravelthroughformalsectionsthatcometogetherinthebadhatform.The
formcontainsaseriesofguidepoststhatfacilitatevirtuosicperformanceresulting
fromyearsofstudyandpractice.Theoverallbadhatformisagradualcrescendoof
intensitythatpeaksattheendofthework.Musiciansgrowthe“raga”orscale
accordingtotraditionscombinedwiththeirowncreativity.Theybuildtheintensity
ofthemusicoverthecyclicaltala.Inmusicwherethereisnomelody/onlytalathe
percussionisaccompaniedbyamelodiccyclecalledalahara.
Thereareseveralsectionsthatofferguidepostswithinbadhatform.Thefirst
isthealap.Thealapsectionservesasanintroductiontothenotesoftheragathatis
beingperformed.Thisofferstheaudiencetheopportunitytohearprincipalnotes,
motives,andextra-musicalideas(suchasmood=rasa)thatwillbeusedthroughout
thepiece.Thealapsectionisidentifiablebecauseitisamelodicimprovisation(with
drone)thathasnosteadybackgroundpulse.
Jorisatransitionalsectionthatfacilitatesthemovefromthealaptothemain
melodysectionknownasgat.Inthejorthemelodicinstrumentbecomesmore
rhythmicallyactivebyaddingapulse.Thisispartoftheoverallbuildupofintensity
thathappensinbarhatform.
Thegatsectioncontainsthemainmelody(s)oftheperformance.This
melodyservesasafoundationformelodicandrhythmicimprovisationthroughout
thegatsection.Thegatisperformedoveratala(rhythmicmode)andis
accompaniedbythepercussioninstrument(usuallytabla).
Jhalaisanintensesectionthatservesasamusicalclimaxandending.Inthe
jhalamusiciansoftenalternateplayingmelodic/frettedstringswiththefixed
pitch/dronestringsontheinstrument.Thisservesbothtointensifyrhythmandto
reinforcetheprimarynoteoftheragcalledsa(towhichthedronestringsare
tuned).Jhalashappenattheendoftheperformancebuttheycanalsoexistatthe
endingofthejorbeforethetalabegins.
Inatypicalperformancethegrowthoftheragathroughthebadhatformcan
progressforhalfanhour.Thebeginningiscalmandslowandtheendisafiery
displayofvirtuosicability.Thegrowththathappensfromtheslowbeginningtothe
virtuosicandfastendingisoftencomparedtothegrowthofaplantfromseedto
flower.Theperformanceofaragaisdevotionalandisseennotonlyasmusicalbut
alsospiritualpractice,withtheultimategoalbeingNadaBrahma(“thesoundof
God”).(Bakan2012,135)
Sectionalformsinpopmusic
Whenanalyzingtheformofpopmusicthetermsverse,chorus,andbridge
areoftenutilized.Thesetermseachrepresentcontrastingsectionsofthemusic.In
manypopandfolkgenresthemelodythatisheardinthechorusisconsideredtobe
themainmelodyor“hook”ofthepiece.Oftentheverseshavelyricsthattellastory
andthechorusexpressestheemotion.Iftheverseandchorusrepeatwithonlylyric
alterationthentheycanbeconsideredonesectionandtheformcanbecalled
strophic.Whenthebridgesectionsofferscontrasttotheverseandchorusitoften
createsaformcalledstandardsongform.Figure2illustrateshowthisformisoften
utilizedinpopularmusic.
Figure2:SongForm
A
A
B
Intro
Verse
Chorus Verse
Chorus Bridge
optional narrative “hook” narrative “hook” Contrasting
material-
possible
modulation
AorA’
Verse Chorus Coda
Sometimes
optional
verseis
skippedfor
returntothe
“hook”
Asimpleformthatisoftenusedtodescribethestructureofmelodiesis
calledbinaryform.Inbinaryformthetunehastwodistinctsections.Examplesof
binarymelodiesarethepiecesTurkeyintheStraw,YankeeDoodleandGreensleeves.
ThesepiecesshowthecontrastoftheAsectionandtheBsection.Thiscontrast
oftenisbothmelodicandharmonic.
Figure3:SampleBinaryForm
ASection
BSection
tonicchord
dominantchord
Westernartmusicsectionalforms
InWesternmusicrealizationofformalmarkers(oftenidentifiablemelody)is
ahighlyvaluedaesthetic.Listenersareoftenawareofthedesignofcomplexforms
andthuslistenforhowcomposers’usetheformtocreateaworkofart.Theylisten
forthedevelopmentandvariationofmelodicthemesandmotives.Inmanygenres
thelistenersevenlistenfortheexpectedtemposandharmonicprogressions.
ThroughawarenessofformagreaterunderstandingofWesternartmusiccanbe
realized.
ArguablythemostimportantoftheWesternartformsisamulti-movement
formcalledthesonatacycle.Sonatacyclescameintovogueasaforminthe
Classicalstyleperiod(1750-1820).Itwasatthispointthatcomposersestablished
manyofthegenresthatwehearinmodernconcerthalls.Thefourgenresthat
utilizethesonatacyclearethesonata,theconcerto,thestringquartet,andthe
symphony.Becausetheyallusethesonatacycletheytypicallyhaveafast(allegro)
firstmovement,aslowsecondmovement,andafastclosingmovement.Thesonata
andconcertoonlyhavethesethreemovementswhilestringquartetsand
symphoniesalsohaveafourthmovement,adance(minuetandtrio)inserted
betweentheslowmovementandtheclosingfastmovement.Pausesoftenhappen
betweenmovementsintheperformancethesegenres.Inthesepausesmusicians
andaudiencemembersadjustandprepareforthenextmovement.Inthe20th
centuryitbecamestandardnottoapplaudbetweenmovements,insteadsaving
applauseuntiltheendoftheentirework.
Symphoniesareworksfororchestras(alsoknowassymphonyorchestrasor
philharmonicorchestras)thatarecomposedusingthefour-movementsonatacycle
form.Stringquartetsusethesameformasasymphonybutarewrittenforan
instrumentationoftwoviolins,aviola,anda‘cello(stringquartet).Concertosand
sonatasarewrittenusingthethree-movementcycle.Aconcertoisaworkforsolo
instrumentaccompaniedbyanorchestra.Thetermsonatacanbeconfusing
becauseofitsmanyrelateduses.Thegenrecalledsonatahasmanyhistorical
variationsbutitisgenerallyconsideredtobeaworkforasoloinstrument(or
instrumentwithpianoaccompaniment)thatiscomposedusingthesonatacycle
threemovementfast-slow-faststructure.Asmentionedabovetheseconduseofthe
termsonataisintheformcalledsonatacycle.Thethirduseisinthetermsonataallegroform.Thisreferstotheformofthefirstmovementofthesonatacycle.
Figure4:Sonatacycle=usedinsonatas,
Movement1:
Movement2:
Movement3:
Movement4:
Allegro=fasttempo Slowtempo
MinuetandTrio
Fast
Sonataform
Oftenthemeand
Dancein3
SonataRondoor
variations/
Doesnotappearin SonataForm
rondoform
sonataorconcerto
Inthesonata-allegro(firstmovement)formcomposersusethreemelodiesas
thesourcematerialforbuildingthepiece.Thesemelodiesarecalledthemes.
Themeoneisthemostimportantthemeinthepiece.Thefirststepinlisteningto
sonataformistorecognizethemeoneandtolistenforeachappearanceofit.There
arethreemainsectionsofSonata-allegroformcalledtheexposition,development
andrecapitulation.Intheexpositionthethreethemesarepresented(exposed).
Thefirstthemewillbeinthetonickeyarea.Forexample:InSymphonyNo.1inC
majorthefirstthemewillbewritteninCmajor.Atransitionsectionsfollowsin
whichthemusicmodulates(changeskeyarea)toarelativekey.Forexample:In
SymphonyNo.1inCmajorthemetwomightbeinthedominantkeyareaofGmajor.
Theclosingthemewillbeinthesamekeyastheme2.Expositionsarerepeated.
Thedevelopmentsectionofsonata-allegroformcontainstheleastamountof
establishedstructure.Inthissectionthecomposermaypresentthemesoutof
order,fragmentthemes,sequencethemes,ordeveloptheminotherways.The
ultimategoalofthedevelopmentistosetupthecadencefrombacktotonicforthe
returnoftheme1intherecapitulation.Therecapitulationisanotherpresentation
ofthethemesfromtheexpositioninthesameorder.Themaindifferenceisthatall
themeswillbepresentedinthetonickeyarea.
Figure5:Sonata-allegroform
I
n
t
r
o
Exposition
Theme1=tonic
transition/modulation
Theme2=contrasting
keyarea
Closingtheme=
contrastingkeyarea
Development Recapitulation
Developsmotives
andthemes
presentedinthe
exposition.
Endswithcadence
fromVtoIthat
reestablishestonic
keyfor
recapitulation
Theme1=tonic
transition/no
modulation
Theme2=tonic
Closingtheme=tonic
C
o
d
a
Likeallotherformsdiscussedtherecanalsobeanintroductionand/ora
coda.Incodas,composerswrapupthepiecebyemphasizingthetonicchord(home
chord).Thisisdonebydrawingoutcadentialmaterial.Acadenceisarestingpoint
providedbytheharmonicprogression.Thestrongestcadencesintonalmusicare
V-I(dominanttotonic).Tonalcentersorkeyareasareimportantpartsofthe
sonataforms.Allmovementsareexpectedtobeginandendinatonickey.The
harmonicpathawayfromthetonicisalsodeterminedbythesonataform.See
figure4foramapofsonata-allegroform.Classicallytrainedmusiciansand
enthusiastsspendmuchtimeanalyzingmusictoidentifyeachformalmarker.
ProgrammaticForm
Inmovies,videogames,televisionshows,epicfolktalesandothergenres
musiciscomposedtosupportastory.Oftentheformsusedforthemusicwillbe
directlyrelatedtothestory.Composerswhoscorefilmsareoftenaskedtocreate
customizedaccompanimentthatfollowstheactiononscreen.Ifthecomposer
wantstocreatemusicthatidentifiesorsupportscharacters,themes,oractionsthen
theymightcomposeamusicalthemethatisrepresentative.Oneneedsonlytohear
theImperialMarchfromtheStarWarsmoviestogetavisualimageofDarthVader.
ThisisbecausewhenJohnWilliamsscoredthesefilmsheutilizedtheconceptof
“leitmotif”thathadbeenusedinoperaforacentury.“Leitmotif”isatermthat
Wagnerusedtodescribethemesthatrepresentcharacters,ideas,orotherobjectsin
hismusicdramas(operas).
Withinanopera,cantata,oratorioorotherWesternArtgenresthathavea
narrativeandinvolvesingingitiscommontohavethreeactsthateachincludearias,
recitative,andchoruspieces.Ariasarethe“hitsongs”oftheoperaandmaybe
composedforsolo,duos,orgroupsofsingers.Intheariatheemotionsofthe
characterareoftenrevealedandexpoundedupon.Imaginetheemotionalrelease
songinanyDisneymovie.Thisisakintooperaarias.Recitativeadvancestheplot
betweenthesearias.Usuallyariashavesomesortofrepetitivesectionalform.
Recitativesareoftennon-repetitivebecausetheyfollowthetext.Ifno
organizationalunitsorrepetitivestructuresarepresentinthemusicthentheform
iscalledthrough-composed.
Analyzingform:
1. Doesthemusichaveapreconceivedformorisitimprovised?
2. Istheformofthemusicasectionthatrepeatsoverandover?
3. Istheformestablishedforthegenre?
4. Doyounoticeanyrepetitiveformalmarkers?
ReferenceList:
Bakan,MichaelB.2012.WorldMusic:TraditionsandTransformations.2nded.
NewYork:McGraw-Hill.
Kilroe-Smith,Catherine.2013.MusicalJourneys.Dubuque,IA:KendallHunt.
Marcus,David.2016.EmailtoToddMueller.Jan.3,2017
Roeder,John.2011“FluctantGroupinginaSilk-and-BambooMelody.”AAWM
Journal1,No.2.AccessedFeb.14,2017
http://aawmjournal.com/articles/2011b/
Ross,Alex.2010.ListentoThis.NewYork:Farrar,StrausandGiroux.
Thrasher,AlanR.1989.”StructuralContinuityinChineseSizhu:The‘Baban’Model.”
AsianMusic20.2:67–106.
Wade,BonnieC.2013.ThinkingMusically:ExperiencingMusic,ExpressingCulture.
3rded.NewYork:OxfordUniversityPress.
Valdez,Stephen.2006.AHistoryofRockMusic.4thed.Dubuque,Iowa:Kendall/Hunt.