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Cyclic form is a technique of musical construction, involving multiple sections or movements, in which a theme, melody, or thematic material occurs in more than one movement as a unifying device.
The four-beat cycle is a shorter period than in European music. This explains the stereotype of African music as "repetitive". The cycles have a beginning and an end, with the two joining. [6] The lead instrument, or soloist, may temporarily contradict the primary cycle with cross beats and larger phrases, but awareness of the cycle is ever ...
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 ...
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In the field of music theory, the term Sonata Cycle refers to the layout of a multi-movement work where the movements are recognizably in the forms of the tradition of classical music. It differs from the term cyclic form in that there is no unifying motive or theme used in all the movements. The standard sonata cycle has four movements, broken ...
In music, a cyclic set is a set, "whose alternate elements unfold complementary cycles of a single interval." [1] Those cycles are ascending and descending, being related by inversion since complementary: Cyclic set (sum 9) from Berg's Lyric Suite, and complementary interval cycles (P7 and I5) producing the cyclic set [1]
Many examples of this form can be found in Schubert's lieder, in which the words of a poem are set to music, and each line is different. In his lied " Erlkönig ", in which the setting proceeds to a different musical arrangement for each new stanza and whenever the piece comes to each character, the character portrays its own voice register and ...
The composer of a sonata form movement may disguise the start of the recapitulation as an extension of the development section. Conversely, the composer may write a "false recapitulation", which gives the listener the idea that the recapitulation has begun, but proves on further listening to be an extension of the development section.