FORM: MUSICAL

STRUCTURE AND DESIGN

Like all artists, a composer assembles his or her materials on the basis of a general plan or design called musical
structure or musical form.
Why and What is Structure in Music?

Musical form or structure is crucial for a composer, as it provides a

general plan for assembling materials in a work of music, similar to a
blueprint for an architect. Without structure, the work would lack
direction and be disordered. Form is an essential quality in all forms of
art, including architecture, painting, sculpture, poetry, drama, and the
novel. It presents a judicious arrangement and helps the audience grasp
the work of art as a unity.
Structural Distinctions

There are two ways in which structure in music may be considered:

● form in relation to a piece as a whole.

● form in relation to the separate, shorter parts of a piece. The larger

formal distinctions would have to do with entire movements of a
symphony, a sonata or a suite. The smaller formal units would
together make an entire movement.
In outlining a single movement, it has become the custom to represent the
larger sections by letters A, B, C, etc. Smaller divisions are usually
represented by a, b, c.

In constructing a musical piece, the composer starts out with

an idea called theme. A theme consists of melodic, rhythmic,
and usually harmonic elements which combine to give the
musical idea a distinct character or individuality. A central
theme which recurs throughout a composition produces unity, even
though one or more subordinate themes may be introduced.
The principle of variety in music means modification of
essentially the same idea. When the theme of a composition
reappears, but with certain changes, the principle of variety is
at work.

The principle of form is embodied in a variety of musical

forms. They are based in one way or another on repetition
and contrast - unity and variety. Repetition fixes the material
in our minds; contrast sustains our interest and satisfies
our desire for change.
 Repetition
Repetitional principles apply both to the large sections which comprise
an entire movement and also to the small units within each section. This
may be represented by a-a-a-a-a, etc.
An example is where "Nagtatanim ng Palay."
The first form of variation occurs when minor alterations are made in the
repetition to allow for a closer setting of the text. This kind of repetition
may be represented by a-a'-a"-a"", etc.

OTHER Example: Spring Field - Hydelic

 Digression - a temporary departure from the main subject
in speech or writing.

Another form of repetition which is fundamental not

only to many folk songs but also to art music in its
smallest and largest sections, is repetition after a
digression. This repetition may be exact, in which case
it is represented by a – b – a; or it may be varied and
therefore represented by a – b – a' .

Example: Look Up - Hydelic A B A’

@ 00:41
The point to remember about smaller units is that every time a
theme is exposed, there is strong likelihood that it will be
repeated immediately; that once repeated, a digression is in
order; and that after the digression, a return to the first theme,
either exact or varied, is to be expected.

This a - b - a formula applies to a piece as a whole, including

the sonata form. The sonata is a composition in three or four
movements, written for a solo instrument.
The sectional forms divide into main sections. They are called either
binary or ternary forms depending on how these main sections are
repeated. A piece of music which consists of two main sections is
considered to be in binary form.

It may represent only one musical idea or different ideas. The

important thing is the pattern repetition of these ideas. If there is
only one musical idea or theme, the first and second sections may
duplicate each other, or the second may have some modifications but
may remainSuper
Example: essentially a duplicate
Bell Hill of theToru
- Mahito Yokota, first.Minegishi,
Yasuaki Iwata, and Koji Kondo A - A’ - B
In the binary form, both parts use closely related or even
identical material. The form is made apparent to the ear
by a full stop at the end of the first part. As a rule each
part is repeated, giving an A – A ; B – B structure.

Example: Comet Observatory - Koji Kondo

A – A’ – B – B’
Three repeats-part or Ternary Form

...is a basic pattern in music. It has three main sections.
Here, the composer presents a musical idea. Next, he
presents a contrasting idea, and then the first. Thus, this
type of structure embodies the principle of

"statement - departure - return" (A-B-A).

Example: Steam Gardens - Koji Kondo,

Shiho Fujii, Naoto Kubo A – A – B – B’ – A
Variations Form


We notice that repetition is a basic element of musical
structure. Thus, composers devise ways of varying an
idea when they repeat it. Variation is operative to some
extent in every kind of music.
 The plan of the form involves the following two steps:


1. There is a statement of a 
2. The theme is then restated
theme (or melody). The several times, each time with
theme, often a simple song some modification or
form, may be original with variation applied. The means
the composer, or he may of variation are numerous:
borrow a theme which is melodic, harmonic, rhythmic,
already well-known metric, tonal, textural, etc.
Other forms known as Contrapuntal or Polyphonic...


...are those based on the presence of two or more
melodies which point up a tune and its harmonic
elements by similarity or contrast rather than on
sectional divisions.


The canon is one of the most elementary contrapuntal
forms. (It is a very old type.)...
Other forms known as Contrapuntal or Polyphonic...

... It is a polyphonic composition in which all the parts or

voices have the same melody throughout, although
starting at different points, a device known as imitation.
The second part which begins the melody a measure later
than the first, is an octave lower. In canons, the time lag between
the parts may range from a few beats to several measures.
Lovely Evening

...is an example of vocal canon. Notice that there may be

as many as three groups singing the melody over and over,
but each group starts at different times.
Sonata Form

The sonata is regarded as a musical form. The term came

from the Italian word sounare, "to sound," indicating a
piece to be sounded on instruments, as distinct from
cantata, a piece to be sung. It is built on two themes
which are that make up presented in three large sections
called the exposition, development, and recapitulation.
This form is sometimes used in other movements as well.
Sonata Form – 1 mvt. Exposition

...section contains two principal themes and usually

several subordinate themes. The main themes, themes A
and B, are always in different keys and are connected by
"extrathematic" music called a "transition." The transition,
since it links two themes in different keys, acts as a
"modulating" passage. After the two themes have been
stated, there is usually a closing theme before the
development.
Sonata Form – 2 mvt. Development

...the two themes are developed in any way the composer

chooses. That is, he freely combines the material
introduced in the exposition and sometimes adds new
material of his own. In this section, the music moves into
new and foreign keys.
 Sonata Form – 3 mvt. Recapitulation

...restates more or less literally what was found in the

exposition, except that all the themes are now in the tonic
key - that is, Theme B is now heard in the same key as
Theme A..

Mozart Piano Sonata No 16 C

major K 545 Barenboim

https://www.youtube.com/watch?
v=1vDxlnJVvW8
Suite Form

The Suite consisted mainly of a series of dance

movements which were all in the same key. It presented
an international galaxy of dance types: the German
allemande, French courante, Spanish sarabande, English jig
(gigue). These had been popular dances, but it is said that
at the time of the late Baroque, they had left the ballroom
far behind and became an abstract type of art music.
Suite Form

The essential element of the suite was dance rhythm, with

its imagery of physical movement. The form met the needs
of the age for elegant entertainment music and at the
same time it offered composers a wealth of popular
rhythms that could be transmitted into art (Machlis, 1963).
Suite Form

The modern suite has no necessary connection with

dance forms. It is a group of related compositions under
one title or it may be a collection of separate pieces which
have been put together because of some unifying idea not
necessarily musical (Dudley and Paricy, 1973).
 Free Forms

All forms that do not have as point of reference the usual form
molds are technically "free" forms. Certain types of composition
seem to fall more naturally than others into forms that are "free."
Even in so-called free forms, however, some basic formal plan
will certainly be present. Free forms are very often used in music
in connection with extra musical ideas. It is only natural that if a
composer starts with extra musical ideas, he or she will probably
find the stereotyped patterns of the usual forms too constricting
for his or her purposes.
Free Forms

The toccata is usually written for a keyboard instrument

(organ, piano, etc.) It has no standard structural scheme
thus it usually contains alternating passages or sections
of scale work, figuration (pattern material), chordal
material, and contrapuntal textures. Played in a free
tempo, rhythm, and meter, it often conveys the
impression of improvisation, i.e., an aimless, wandering
effect, as if the performer were "making it up" as he
went along.
Free Forms

The prelude is a form closely related to the sonata. It is a

piece to be played as an introduction, for example, to a
ceremony, service, or to music such as the suite or a
separate piece not associated with anything else like the
sets of piano preludes by Chopin, Rachmaninoff,
Scriabin, and others. Preludes are short; some are not
even a page in length, several consist of only two or
three lines.
Free Forms

The impromptu which conveys some underlying mood

or style, although has connotations of spontaneity or on
the spur of the moment, is actually written down and
published.

The etude is a special type of free form usually of great

difficulty. It is a composition of artistic worth suitable for
concert performances. It became important during the
time of Chopin and Liszt which was in the 19th century.
Free Forms

The nocturne is another composition which illumines a

particular mood rather than a general idea. It suggests
the atmosphere of night. Nocturnes or night songs as
the name implies are usually in A-B-A-form.
Program Music

 ...is a kind of music associated with story elements or a

poetic idea. It is distinguished from absolute or pure
music which deals with musical patterns devoid of
literary or pictorial connotations.

Program music generally falls into three classes: the

imitative, the narrative, and the descriptive.
Program Music

Imitative music imitates the actual sound of the subject,

as in the imitation of animals which was popular even
before the flowering of instrumental music.

Narrative music, as the term implies, is when music is

intended to tell a story or depict a series of related
events.
 Beethoven's Symphony No. 6, called the
Pastoral Symphony, was one of the first
Program Music examples of descriptive program music.

Descriptive program music depicts an event or a

scene. Composers of program music have expressed
the thought that no matter how programmatic or
descriptive music may be, it must always exist in
terms of music alone....
 Program Music

 ...That is, story interest should never take the place

of musical interest. The piece must be able to stand
on its own as music in its own right. Thus,
Beethoven's Pastoral Symphony is a symphony first
and a pastoral symphony in a second sense. (Copland,
1957)
Program Music

Narrative music, as the term implies, is when music is

intended to tell a story or depict a series of related
events. Examples of this sort of narrative program music
are Strauss' symphonic poems Till Eulen-spiegel's Merry
Pranks and Don Quixote.
Folk Music and Art Song (...some of the common vocal types of music...)

Folk music is the spontaneous and traditional music of a

people, race, or nation. Folk song is generally not the
work of a composer but has been passed down orally
from one generation to another. It expresses the feelings
typical of the people from which it originated and
reflects the spirit of the time.
Folk Music and Art Song

In folk music, we have a treasury of songs that reflect all

phases of life in work songs, love songs, drinking songs,
cradle songs, patriotic songs, dance songs, and narrative
songs. Folk songs and folk dances constitute a wealth of
melodic material which, aside from its own intrinsic
beauty, has provided thematic ideas for many great
compositions.
Folk Music and Art Song

An art song is sophisticated and is usually composed with a

piano accompaniment. As opposed to folk song, it is the
work of musically trained composers. Each composer tries
to make the music of his song fit the words chosen (which
are usually from a poem not written by the composer), but
the song is nevertheless characteristic of himself. The
musical form of an art song is partly deter- mined by its
poetic structure....
Folk Music and Art Song

In strophic form, each stanza of the poem is set to the

same music. Continuous form or through-composed songs
have different music for each stanza of the poem in order
to follow the changing ideas or moods of the text (Miller,
1971).

Both folk songs and art songs follow one of two basic kinds
of formal treatment. The only differences that can be
introduced are in dynamics, general expression, and tempo
Folk Music and Art Song

Almost all folk songs are in strophic form. Art

songs are both strophic and continuous. "The Erl-
King" has been cited as an example of continuous
form. Schubert's Standchen (Serenade) is in
strophic form.
Jazz Music

 ...is an exciting form of music where melody and rhythm

blend harmoniously. The rhythmic background and
syncopation are strong. It began in the United States in
about 1900. It was played by Negroes who had originally been
brought from Africa to America as slaves, and so jazz has things in
common with African music, especially the strong use of rhythm.
Jazz Music

A traditional jazz band might include a trumpet,

clarinet, and trombone (which led the melody and
provided the beat (Dempsey et al., ed., 1968).
improvised together) and a double bass, drums, and
banjo (the rhythm section, which provided the beat
(Dempsey et ai., ed., 1968).
Opera

The opera, which is a musical drama, has for many

years been one of the most alluring forms of musical
entertainment. It combines the resources of vocal and
instrumental music, soloists, ensembles, chorus,
orchestra and ballet, with poetry and drama, acting and
pantomime, and costumes and scenery.
Opera

Our present generation has all the chances to see even the
major opera companies of the world performing in our
country. An example is the opera presented by the Cultural
Center of the Philippines on December 20, 22, and 27,
1979. For the first time in its 57-year history, the San
Francisco Opera performed outside the United States and
its first time was at the Cultural Center of the Philippines.
Opera Performers

Outstanding
Filipino performers,
Conching Rosal,
Sylvia la Torre,
Danilo Dolor’s
Tribung Pinoy

Placido Domingo
Opera

The instrumental composition which serves as an

introduction to the opera is called an overture, or, sometimes
a prelude. The overture usually contains excerpts from the
work it is introducing. It is sometimes a separate
composition.

In general, composers are more concerned with presenting

the prevailing mood of the opera in the overture than with
introducing its themes.
Opera

The recitative is a kind of musical speech. Here the

composer's interest is primarily in declamation; that is, in
making the words intelligible rather than in constructing
a beautiful song. It is said that the first operas were
largely composed of recitatives, and were thus of limited
musical interest.
Opera

Oratorio. This is a dramatic religious work on non-

liturgical intent. It employs operative forms but is
performed without staging, costuming, or scenery.
The subject is usually biblical and the story is told by
a narrator in a recitative style. The recitative is
usually of greater importance in an oratorio than in
modern opera.
Opera

The oratorio employs the resources of the

orchestra, chorus, and solo singers. The chorus and
soloists for the orator are on the state, and each
singer rises when he is to perform, but there is no
acting out of the text as it is sung. The chorus from
oratorio tends to be polyphonic in structure and, as befits the
subject, is serious and powerful.
 Cantata - from the Italian cantare, "to
Opera
sing," that is, a piece to be sung.

The cantata and the passion are special forms of the

oratorio. A cantata is a small oratorio for vocalists,
chorus, and instrumentalists based on a poetic
narrative, either religious or secular, of a lyric or
dramatic nature.
Opera

The passion is a musical version of that part of the

Gospels, which deals with the agony and death of
Christ. In the 16th century, the passion was
performed in church during the Holy Week, while
the oratorio was a musical entertainment presented
in a public hall.
Opera

In the Philippines, the cenaculo, the Filipino version

of the passion play with stories from the Old
Testament thrown in, is still staged regularly during
Holy Week.
Litrurgical Music

Although the purpose of liturgical music is to create

or enhance attitudes of worship, like painting and
architecture, it is frequently experienced as an art,
entirely apart from the religious function.
Litrurgical Music

Plainsong. The greatest body of liturgical melody is

plainsong, also called plain- chant and Gregorian
chant. This is the great heritage of the monophonic
period in Western Music. Its characteristics are: (1)
monophonic, (2) non-metric, (3), rhythmically free,
(4) modal, and (5) sung in Latin.
Litrurgical Music

Chorale. A chorale is a hymn tune. Chorale melody

differs from Catholic Gregorian Chant in that it is: (1)
more often harmonized and accompanied, (2) more
regular in meter and rhythm, (3) and sung in the
vernacular language instead of in Latin.
Litrurgical Music – The Mass

The Mass is a ritual of the Roman Catholic Church

which constitutes a re-enactment of the sacrifice of
Christ. The aggregation of prayers that make up the
Mass falls into two main divisions: (1) the ordinary of the
Mass - those that remain the day throughout the church
same in every Mass and (2) the Proper of the Mass -
those that vary from day to day through-out the church
year.
The Mass

Ordinary. The Ordinary of the Mass consists of five

sections: Kyrie, Gloria, Credo, Sanctus, and Agnus
Dei. These parts are usually sung in monophonic
plainsong or in polyphonic settings.
The Mass

Proper. The parts of the Proper of the Mass which

are sung are the Introit, Graduale, Alleluia,
Offertorium, and Communion. These parts are sung
in plainsong or else in polyphonic settings called
motets.
The Mass

Proper - ...The motet is a liturgical form extensively

employed in the Renaissance. The Renaissance
motet not only represents a perfection of
contrapuntal technique in the unaccompanied style,
but also constitutes the perfect vehicle for religious
contemplation.
The Mass

The Requiem Mass is a special kind of mass. It is

also called Mass for the Dead. It got its name from
the first words of the text: Requiem aeternam do
na eis. Domine (Give to them, O Lord, eternal rest).
The Mass

In recapitulation of this chapter on form, it may be said

that form is that which gives music a sense of unity,
order, and coherence. The principle of form is embodied
in a variety of musical forms which utilize procedures
worked out by generations of composers. It is the
characteristic of music which distinguishes it from all
other sounds.
Music Therapy

Like poetry therapy, we also have music therapy.

Music therapy is the prescribed use of music by a
qualified person to effect positive changes in the
psychological, physical, cognitive, or social
functioning of an individual with health or
educational problems.
 Music Therapy

The program consists of singing, body movement, and

listening. It is designed to increase the group
members' concentration, memory retention,
conceptual development, rhythmic behavior,
movement behavior, verbal or non-verbal retention,
and auditory discrimination. It is also used to
stimulate the members' expression and discussion of
affect.
Theraprutic Music

This pertains to music that is curative in function. It

could be looked on as a sophisticated modern
elaboration of the idea of catharsis - an emotional
relief experienced by the individual, thereby helping
them recover from a previous pent-up emotion.
Following is an example of therapeutic music. It is
well-known all over the nation.
 Karaoke?
Lift Up Your Hands – Basil S. Valdez
Theraprutic Music

Life is not all that bad, my friend, hmm

If you believe in yourself
If you believe there's Someone
Who walks through life without you
You'll never be alone
Just learn to reach out, ...And He said, "Cast your burdens upon
And open your heart Me
Lift up hands to God, Those who are heavily laden,
And He'll show you the way... Come to Me, all of you who are tired
Of carrying heavy loads,
For the yoke I will give you is easy
And My burden is light,
Come to Me and I will give you rest."
 Karaoke?
Lift Up Your Hands – Basil S. Valdez
Theraprutic Music

When you feel the world

Is tumblin' down on you,
And you have no one
That you can hold on to,
Just face the rising sun
And you'll see hope, ...And He said, "Cast your burdens upon
And there's no need to run Me
Lift up your hands to God, Those who are heavily laden,
And He'll make you feel all right... Come to Me, all of you who are tired
Of carrying heavy loads,
For the yoke I will give you is easy
And My burden is light,
Come to Me and I will give you rest."
That is all

Thank you for Listening