Through-composed musicIn the theory of musical form, through-composed music is a continuous, non-sectional, and non-repetitive piece of music. The term is typically used to describe songs, but can also apply to instrumental music. While most musical forms such as ternary form (ABA), rondo form (ABACABA), and sonata form (ABA') rely on repetition, through-composed music does not re-use material (ABCD). This constant introduction of new material is most noticeable in musical settings of poems, in contrast to the often used strophic form (AAA).
Musical formIn 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 solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors.
Variation (music)In music, variation is a formal technique where material is repeated in an altered form. The changes may involve melody, rhythm, harmony, counterpoint, timbre, orchestration or any combination of these. Mozart's Twelve Variations on "Ah vous dirai-je, Maman" (1785), known in the English-speaking world as "Twinkle, Twinkle, Little Star" exemplifies a number of common variation techniques.
OstinatoIn music, an ostinato (ostiˈnaːto; derived from Italian word for stubborn, compare English obstinate) is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's Boléro and the Carol of the Bells, and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from Peter Gunn (1959), The Who's "Baba O'Riley" (1971), and The Verve's "Bitter Sweet Symphony" (1997).
