109:
629:
213:"The essence of the Bar does not reside in the actual length, but in the distribution of its powers. Whether the Bar occupies 3 measures or 1,000 is irrelevant; it is always a regular Bar if essence is fulfilled: a double appearance as against a single balancing occurrence of equal weight."
114:
Note that the B section is not necessarily the same length as each A section. The B section can also incorporate parts of the A section's phrase: in the above example, the final 14 notes of the B section match the final 14 notes of each A section (see also
209:
The German musicologist Alfred Lorenz, in his studies of Wagner, abstracted the concept of barform to include anything resembling an AAB structure at any level of scale:
217:
Lorenz argues that this short-short-long structuring principle occurring at multiple scales at once gives Wagner's music its feeling of ever-present forward momentum.
155:, emphasized the role of Lutheran chorales, almost all of which are in AAB form, in what he considered the most mature of Bach's cantatas. Composer
70:, denoting a skillful thrust in fencing. The term was used to refer to a particularly artful song – the type one composes in songwriters' guilds.
323:(Berlin: Max Hesse, 1924-1933. Reprint, Tutzing: Hans Schneider, 1966): vol. 1, p. 145, quoted and translated by Stephen McClatchie,
354:
167:. Subsequent popularity and study of the use of AAB stanzas in Bach's and Wagner's works has led to wide adoption of the term
292:
De sacri rom. imperii libera civitate noribrgensi commentatio, appendix Buch von der
Meister-Singer Holdseligen Kunst
275:
253:
171:
for any song or larger musical form that can be rationalized to a three part AAB form with the first part repeating.
152:
140:
46:
guilds of the 15th to 18th century who used it to refer to their songs and the songs of the predecessors, the
164:
147:
incorrectly as referring to a stanza of the prize song. This was based on his misreading of
Wagenseil.
347:
408:
179:
119:). In this example, the 17 never-repeated notes starting the B section would have been called a
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The AAB pattern does, however, describe each stanza in a
Meistersinger's
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325:
Analyzing
Wagners Operas: Alfred Lorenz and German Nationalist Ideology
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478:
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127:"; whence comes the term for a contrasting section in popular music.
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47:
191:
508:
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89:. The musical form thus contains two repetitions of one melody (
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327:(Rochester: University of Rochester Press, 1998): 130-131
229:, traditionally in AAB form (strophe, antistrophe, epode)
226:
194:
made use of the Bar form in the 20th century, and most
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The term comes from the rigorous terminology of the
174:Such AAB forms may be found in works ranging from
640:
362:
163:" generates larger formal structures in Bach's
50:of the 12th to 14th century. In their work, a
348:
93:– 'stanzas') followed by a different melody (
54:is not a single stanza (which they called a
304:
355:
341:
62:); rather, it is the whole song. The word
321:Das Geheimnis der Form bei Richard Wagner
289:
248:, entries on Bar form and minnesingers. (
34:) is a musical form of the pattern AAB.
81:(A), which are collectively termed the
641:
336:
159:claimed the AAB form of the chorale "
16:For the electronics form factor, see
290:Wagenseil, Johann Christoph (1697).
246:Harvard Concise Dictionary of Music
123:by the Meistersingers: literally, "
13:
309:. Leipzig: Breitkopf & Härtel.
14:
665:
101:in Meistersinger terminology) by
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153:his monumental 1873–80 biography
107:
97:– 'aftersong'). One such tune (
151:'s famous biographer Spitta in
66:is most likely a shortening of
37:
313:
298:
283:
141:Die Meistersinger von NĂĽrnberg
105:(c1437–1513) illustrates this:
1:
307:Johann Sebastian Bach, 2 vols
305:Spitta, Phillip (1873–1880).
262:(2005), article on Bar form.
239:
130:
77:, which is divided into two
7:
220:
10:
670:
268:A History of Western Music
15:
625:
374:
180:The Star-Spangled Banner
139:in act III of his opera
260:Encyclopædia Britannica
215:
165:motet of the same name
211:
198:follow the pattern "A
439:Developing variation
599:Thirty-two-bar form
464:Formula composition
161:Jesu, meine Freude
636:
635:
619:Verse–chorus form
574:Sonata rondo form
409:Call and response
389:Ausmultiplikation
270:by Donald Grout (
176:Lutheran chorales
85:, followed by an
661:
631:
604:Through-composed
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182:" to songs by
137:Richard Wagner
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649:Stanzaic form
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44:Meistersinger
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654:Musical form
589:Ternary form
474:Introduction
393:
364:Musical form
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233:Ternary form
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48:minnesingers
41:
38:Original use
31:
27:
23:
22:
569:Sonata form
529:Post-chorus
444:Development
434:Cyclic form
399:Binary form
368:development
117:Rundkanzone
28:die Barform
643:Categories
609:Transition
539:Repetition
524:Pre-chorus
454:Exposition
424:Conclusion
294:. Altdorf.
240:References
131:Modern use
18:Bar (form)
614:Variation
479:Leitmotif
379:Arch form
135:Composer
103:Hans Folz
83:Aufgesang
26:(German:
509:Overture
504:Ostinato
499:Movement
394:Bar form
384:Argument
221:See also
188:Schumann
184:Schubert
169:Bar form
95:Abgesang
87:Abgesang
24:Bar form
564:Section
544:Reprise
91:Stollen
79:Stollen
32:der Bar
519:Phrase
514:Period
489:Melody
459:Finale
404:Bridge
274:
252:
192:BartĂłk
125:bridge
60:Gesätz
594:Theme
559:Rondò
554:Rondo
494:Motif
429:Cycle
235:(ABA)
196:blues
68:Barat
549:Riff
484:Lick
469:Hook
449:Drop
419:Coda
414:Cell
366:and
272:ISBN
250:ISBN
206:B."
178:to "
149:Bach
121:Steg
56:Liet
227:Ode
145:Bar
99:Ton
75:Bar
64:Bar
58:or
52:Bar
30:or
645::
186:,
356:e
349:t
342:v
278:)
256:)
204:2
202:A
200:1
20:.
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