{"id":1638,"date":"2023-09-29T11:33:23","date_gmt":"2023-09-29T11:33:23","guid":{"rendered":"http:\/\/localhost\/ecole9ja\/?p=1638"},"modified":"2023-09-29T11:34:08","modified_gmt":"2023-09-29T11:34:08","slug":"week-9-jss-3-second-term-cultural-and-creative-arts-notes","status":"publish","type":"post","link":"https:\/\/ecolebooks.com\/nigeria\/posts\/week-9-jss-3-second-term-cultural-and-creative-arts-notes\/","title":{"rendered":"Week 9 – Jss 3 Second Term Cultural and Creative Arts Notes"},"content":{"rendered":"

CLASS; JSS3 WEEK 9 TOPIC; MUSIC FORMS
\n<\/strong>The term\u00a0musical form<\/strong>\u00a0(or\u00a0musical architecture<\/strong>) refers to the overall structure or plan of a piece of music,\u00a0and it describes the layout of a composition as divided into sections.
\n\t\t\t<\/sup>\u00a0In the tenth edition of\u00a0The Oxford Companion to Music<\/em>,\u00a0Percy Scholes\u00a0defines musical form as “a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration.
\nAccording to\u00a0Richard Middleton, musical form is “the shape or structure of the work.” He describes it through difference: the distance moved from a\u00a0repeat; the latter being the smallest difference. Difference is quantitative and qualitative:\u00a0how far<\/em>, and\u00a0of what type<\/em>, different. In many cases, form depends on statement and\u00a0restatement, unity and variety, and\u00a0contrast\u00a0and connection.
\n\t\t\t<\/sup><\/p>\n

Levels of organization
\n<\/h2>\n

The founding level of musical form can be divided into two parts:<\/p>\n

    \n
  • \n
    The arrangement of the\u00a0pulse\u00a0into\u00a0unaccented\u00a0and accented\u00a0beats, the\u00a0cells\u00a0of a\u00a0measure\u00a0that, when\u00a0harmonized, may give rise to a\u00a0motif\u00a0or\u00a0figure.\n<\/div>\n<\/li>\n
  • \n
    The further organization of such a measure, by repetition and\u00a0variation, into a true musical\u00a0phrase<\/strong>\u00a0having a definite rhythm and duration that may be implied in melody and harmony, defined, for example, by a long final note and a breathing space. This “phrase” may be regarded as the fundamental unit of musical form: it may be broken down into measures of two or three beats, but its distinctive nature will then be lost. Even at this level, the importance of the principles of repetition and contrast, weak and strong, climax and repose, can be seen.\n<\/div>\n<\/li>\n<\/ul>\n

    Passage
    \n<\/h3>\n

    The smallest level of construction concerns the way musical phrases are organized into musical\u00a0sentences\u00a0and “paragraphs” such as the\u00a0verse\u00a0of a song. This may be compared to, and is often decided by, the\u00a0verse form\u00a0or meter of the words or the steps of a dance.
    \nFor example, the\u00a0twelve bar blues\u00a0is a specific verse form, while\u00a0common meter\u00a0is found in many hymns and ballads and, again, the Elizabethan\u00a0galliard, like many dances, requires a certain rhythm, pace and length of melody to fit its repeating pattern of steps. Simpler styles of music may be more or less wholly defined at this level of form, which therefore does not differ greatly from the loose sense first mentioned and which may carry with it rhythmic, harmonic, timbre, occasional and melodic conventions.<\/p>\n

    Notation
    \n<\/h4>\n

    In the analysis of musical form, any components that can be defined on the time axis (such as sections and units) are conventionally designated by\u00a0letters.\u00a0Upper-case\u00a0letters are used for the most fundamental, while\u00a0lower-case\u00a0letters are used for sub-divisions. If one such section returns in a varied or modified form, a\u00a0numerical digit\u00a0or an appropriate number of\u00a0prime symbols\u00a0appears after the letter. Even at this simplest level, there are patterns that may be re-used on larger timescales. For example, consider the analogy with\u00a0rhyme schemes;
    \nThe following verse is composed of two differently-rhymed couplets (AABB<\/strong>), and thus its organization is\u00a0binary\u00a0or “twofold”.
    \nTwinkle, twinkle, little star,<\/em>
    \n\t\tHow I wonder what you are.<\/em>
    \n\t\tUp above the world so high,<\/em>
    \n\t\tlike a diamond in the sky.<\/em>
    \n\t\tContrast with the following verse, were the rhyme is repeated in the second line, followed by a variant in the third line \u2013 two half-lines sharing a new rhyme \u2013 and a return to the first arrangement in the last line (AABA<\/strong>), and thus its organization is\u00a0song form.\u00a0Ternary form\u00a0or “threefold” is (ABA<\/strong>).
    \nThere once was a fellow from Leeds<\/em>
    \n\t\tWho swallowed a packet of seeds.<\/em>
    \n\t\tIn less than an hour he burst into flower<\/em>
    \n\t\tAnd he died trying to pull up the weeds.<\/em><\/p>\n

    Pieces
    \n<\/h3>\n

    The next level concerns the entire structure of any single self-contained\u00a0musical piece. If the hymn, ballad, blues or dance alluded to above simply repeats the same musical material indefinitely then the piece is said to be in\u00a0strophic form\u00a0overall. If it repeats with distinct, sustained changes each time, for instance in setting, ornamentation or instrumentation, then the piece is a\u00a0theme and variations. If two distinctly different themes are alternated indefinitely, as in a song alternating verse and\u00a0chorus\u00a0or in the alternating slow and fast sections of the Hungarian\u00a0czardas, then this gives rise to a simple binary form. If the theme is played (perhaps twice), then a new theme is introduced, the piece then closing with a return to the first theme, we have a simple ternary form.
    \nGreat arguments and misunderstanding can be generated by such terms as ‘ternary’ and ‘binary’, as a complex piece may have elements of both at different organizational levels.
    \n\t\t\t<\/sup>\u00a0A\u00a0minuet, like any Baroque dance, generally had simple binary structure (AABB<\/strong>), however, this was frequently extended by the introduction of another minuet arranged for solo instruments (called the\u00a0trio<\/em>), after which the first was repeated again and the piece ended\u2014this is a ternary form\u2014ABA<\/strong>: the piece is binary on the lower compositional level but ternary on the higher. Organizational levels are not clearly and universally defined in western musicology, while words like “section” and “passage” are used at different levels by different scholars whose definitions, as Shankar\u00a0 points out, cannot keep pace with the myriad innovations and variations devised by musicians.<\/p>\n

    Cycle
    \n<\/h3>\n

    The grandest level of organization may be referred to as “cyclical form” \u00a0It concerns the arrangement of several self-contained pieces into a large-scale composition. For example, a set of songs with a related theme may be presented as a\u00a0song-cycle, whereas a set of\u00a0Baroque dances\u00a0were presented as a\u00a0suite. The\u00a0opera\u00a0and\u00a0ballet\u00a0may organize song and dance into even larger forms. This level of musical form, though it again applies and gives rise to different genres, takes more account of the methods of musical organization used. For example: a\u00a0symphony, a\u00a0concerto\u00a0and a\u00a0sonata\u00a0differ in scale and aim, yet generally resemble one another in the manner of their organization. The individual pieces which make up the larger form may be called\u00a0movements.<\/p>\n

    Single forms
    \n<\/h2>\n

    Scholes suggested that European classical music had only six stand-alone forms: simple binary, simple ternary, compound binary, rondo, air with variations, and\u00a0fugue\u00a0(although musicologist\u00a0Alfred Mann\u00a0emphasized that the fugue is primarily a method of composition that has sometimes taken on certain structural conventions.
    \nWhere a piece cannot readily be broken down into sectional units (though it might borrow some form from a poem, story or\u00a0programme), it is said to be\u00a0through-composed. Such is often the case with a\u00a0fantasia,\u00a0prelude,\u00a0rhapsody,\u00a0etude\u00a0(or study),\u00a0symphonic poem,\u00a0bagatelle,\u00a0impromptu, etc. \u00a0Charles Keil classified forms and formal detail as “sectional, developmental, or variational.<\/p>\n

    Sectional form
    \n<\/h3>\n

    This form is built from a sequence of clear-cut units
    \n\t\t\t<\/sup>\u00a0that may be referred to by letters but also often have generic names such as\u00a0introduction\u00a0and\u00a0coda, exposition, development and\u00a0recapitulation, verse, chorus or\u00a0refrain, and\u00a0bridge. Introductions and codas, when they are no more than that, are frequently excluded from formal analysis.\u00a0All such units may typically be eight measures long.<\/p>\n","protected":false},"excerpt":{"rendered":"

    CLASS; JSS3 WEEK 9 TOPIC; MUSIC FORMS The term\u00a0musical form\u00a0(or\u00a0musical architecture) refers to the overall…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,150],"tags":[],"class_list":["post-1638","post","type-post","status-publish","format-standard","hentry","category-posts","category-second-term-jss3-fine-art"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1638","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/comments?post=1638"}],"version-history":[{"count":1,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1638\/revisions"}],"predecessor-version":[{"id":1639,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1638\/revisions\/1639"}],"wp:attachment":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/media?parent=1638"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/categories?post=1638"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/tags?post=1638"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}