The Theory and Practice of Musical Form: On the Basis of Ludwig Bussler's "Musikalische Formenlehre"

An excerpt from the beginning of the PREFACE:

FORM, in art, may be comprehensively defined as the external shape and order in which artistic conceptions are presented, — in other words, as the outward expression of the subject-matter or import of the art-work. Accordingly, there may be as many forms as art-works, although numbers of these individual forms may and actually do agree in certain essential features. Now, the summary of the principal features in which a number of art-works agree, is called Art-form.

THE necessity of form to the special art of music is, perhaps, not so immediately obvious as in the case of the other arts; yet it is certain that without an adherence to the laws of form a coherent, intelligible musical composition is as inconceivable as — for example — a picture, a sculpture, or a building, without plan or design. A piece of music (if indeed music it should be called) without a determinate tonality or key-relationship, without harmonic, melodic, rhythmic order and symmetry — in a word, without form, — is nothing else than a tonal chaos. Hence the absolute necessity to the would-be musical composer of the study of the laws of musical form, — a necessity from which no natural gifts, not even the possession of genius, can dispense him. "Form," — says Eckermann — "is the result of the efforts, through thousands of years, of the most excellent masters, which every one cannot too soon appropriate to himself. It were a most insane delusion of misconceived originality, if each one were to go about on his own account fumbling for that which is already on hand in great perfection. Form is handed down, learned, imitated, otherwise progress in art would be out of the question, — every one would have to begin anew," etc., etc. And Goethe, speaking of the strict requirements of the laws of art-form, says that it is "precisely genius, natural talent, that is the first to understand them, and that pays them the readiest obedience." The study of musical form, however, of course presupposes the knowledge of the laws of Harmony and Counterpoint, as an indispensable preliminary condition; which knowledge, accordingly, is in this work assumed as part of the student's equipment.

In view of the fact that the means or organs by which musical tones are produced are either natural (the human voice), or artificial (musical instruments), music is either 1. purely vocal; or, 2. purely instrumental; or, 3. mixed — i.e., at once vocal and instrumental. To one or the other of these three grand divisions of musical forms every musical composition must be assigned. Further, each one of these form-genera, as embracing compositions having either but a single movement, or many movements, is, accordingly, either Simple, or Composite (cyclical). Again, each one of the three form-genera has its various species, as follow. — A. Vocal Forms. — (a) For a solo voice: Recitative, Air, Arioso, Arietta, Ballad, Canzone, Canzonetta, Cavatina, Romance, Song, Scena, etc.— (b) For several solo voices: Duet, Terzet (Trio), Quartet, Quintet, Sextet, etc.— (c) For chorus a cappella (with or without solo) : Chorus, Mass, Psalm, Madrigal, Motet, Glee, etc. — B. Instrumental Forms, (a) In one movement (simple): the various Dances and Marches; Pianoforte pieces, such as Etude, Song without words, Fantasia, Nocturne, etc; Orchestral Overture (Opera-overture, Concert-overture), etc. — (b) With many movements (Cyclical): Duo, Trio, Quatuor, ' Sextet, Septuor, etc.; Concerto, Suite, Serenata, Sonata, Symphony, etc. — C Mixed Vocal and Instrumental Forms, (a) The various choral compositions with organ or orchestral accompaniment, viz. : Mass, Litany, Te Deum laudamus, Stabat Mater, Service, Anthem, Hymn, Psalm, Choral, Cantata, Oratorio, Passion, etc. — (b) Represented on the Stage : Opera, Operetta, Melodrama, Vaudeville, etc….