what is the example of strophic form

1 ANSWERS

1. amomipais82
   

   Hi There,
   Sectional form is built from a sequence of clear-cut units (DeLone, 1975) that may be referred to by letters as outlined above but also often have generic names such as Introduction and Coda, Exposition, Development and Recapitulation, Verse, Chorus or Refrain and Bridge. Introductions and codas, when they are no more than that, are frequently excluded from formal analysis. All such units may typically be eight measures long. Sectional forms include:
   
       * Strophic form (AAAA...) indefinitely - the "unrelieved repetition" that is one extreme of the spectrum of musical form.
   
       * Medley, potpourri or Chain form: this is the opposite extreme of "unrelieved variation": it is simply an indefinite sequence of self-contained sections (ABCD...), sometimes with repeats (AABBCCDD...). Orchestral overtures, for example, are sometimes no more than a string of the best tunes of the show to come, possibly, like Johann Strauss' Blue Danube waltz, ending with a reprise of the main theme; ((intro)ABCD...A1(coda)).
   
       * Binary form using two sections (AB...); each section is often repeated (AABB...). In 18th-century western classical music simple binary form was often used for dances and carried with it the convention that the two sections should be in different musical keys but maintain the same rhythm, duration and tone. The alternation of two tunes gives enough variety to permit a dance to be extended for as long as may be required.
   
       * Ternary form, having three parts. In Western classical music a simple ternary form has a third section that is a recapitulation of the first (ABA). Often the first section is repeated (AABA) This approach was popular in the 18th-century operatic aria and was called da capo (i.e. "repeat from the top") form: later it gave rise to the 32-bar song, the B section then often being called the "middle eight". A song has more need than a dance of a self-contained form with a beginning and an end.
   
       * Rondo form has a recurring theme alternating with different (usually contrasting) sections called episodes. It may be asymmetrical (ABACADAEA) or symmetrical (ABACABA). A recurring section, especially the main theme, is sometimes more thoroughly varied, or else one episode may be a development of it. A similar arrangement is the ritornello form of the baroque concerto grosso. Arch form (ABCBA) resembles a symmetrical rondo without intermediate repetitions of the main theme.
   
   Variational forms are those in which variation is an important formative element.
   
       * Theme and Variations: a theme, which in itself can be of any shorter form (binary, ternary, etc.), forms the only "section" and is repeated indefinitely (as in strophic form) but is varied each time (AA1A2A3A4A5A6), so as to make a sort of sectional chain form. An important variant of this, much used in 17th-century English music and in the Passacaglia and Chaconne, was that of the ground bass - a repeating bass theme or basso ostinato over and around which the rest of the structure unfolds, often, but not always, spinning polyphonic or contrapuntal threads, or improvising divisions and descants. This is said by Scholes (1977) to be the form par excellence of unaccompanied or accompanied solo instrumental music. The Rondo is often found with sections varied (AA1BA2CA3BA4) or (ABA1CA2B1A).
   
   Developmental forms are built directly from smaller units, such as motifs, combined and worked out in different ways, perhaps having a symmetrical or arch-like underpinning and a progressive development from beginning to end. By far the most important in Western classical music is;
   
       * Sonata form (also known as sonata allegro form, first movement form, compound binary, ternary and a variety of other names, all of which have been found wanting in one way or another (Scholes (1977)) This developed from the binary-formed dance movement described above but is almost always cast in a greater ternary form having the nominal subdivisions of Exposition, Development and Recapitulation. Usually, but not always, the "A" parts (Exposition and Recapitulation, respectively) may be subdivided into two or three themes or theme groups which are taken asunder and recombined to form the "B" part (the Development) - thus e. g. (AabB[dev. of a and/or b]A1ab1+coda). This developmental form is generally confined to certain sections of the piece, as to the middle section of the first movement of a sonata, though nineteenth-century composers such as Berlioz, Liszt and Wagner made valiant efforts to derive large-scale works purely or mainly from the motif.
   
   Chester (1970) distinguished this as Extensional music, that "produced by starting with small components - rhythmic or melodic motifs, perhaps - and then 'developing' these through techniques of modification and combination." Intensional music, meanwhile, "starts with a framework - a chord sequence, a melodic outline, a rhythmic pattern - and then extends itself by repeating the framework with perpetually varied inflections to the details filling it in."

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