Musical Form: Dynamic vs.

Static

Edward Brookhart

Music Educators Journal, Vol. 51, No. 1. (Sep. - Oct., 1964), pp. 91-93+146-147.

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MUSICAL FORM: Dynamic us. Static
by Edward Brookhart

While knowledge of "classical" static rather than the dynamic questions. Is it more important to
forms has its place in an indikid- aspects of form. teach junior high students to b e
ual's musical education, the value In his description of the style- able to analyze music for "static
of this knowledge as a basis for a critical process applied to music, form" (as defined above), or is it
better understanding of music is Guido Adler suggests that this proc- more important to help them to
limited. The objective, analytical, ess begins with the analysis of understand "dynamic form" as they
static aspects of musical form will form, taking all of the elements of listen or nerform?
I
Or. are both of
prove to be of secondary impor- music into consideration. With this equ:i1 importance for these stu-
tance to the expressi~e, the psycho- is associated the analvsis of content, dents? How should the teacher ap-
logical, the clynnvlic features. incjuiring into the psycho-intel- proach the development of con-
One needs to look no further lectual side of music. "By con- cepts of musical form?
than his own musical training, or sidering the reciprocation and cor- -4 clue to an answer for the first
that of his associates, to be aware relation of the analvses of form and two of these auestions is to be
of the fact that in the past the study content we arrive at authentic style- found in the following statement
of musical form has largely been criticism of a high o r d e r . " T h e feel- of Ernst Cassirer:
approached from the standpoint of i ~ gthat what Adler has called Like the process of speech the artistic
the con~~entional, static structural form" and what he has called process is a clialogical and dialectic one.
11atter1ls which may, we were told, "content" are somehow inseparably Not even the spectator is left to a inerely
connected offers a possible explana- passive role. \Ve cannot understand a
be abstracted from all great music. work of art without, to a certain degree,
Ii'hat has been true of most col- tion for the semantic use of the repeating and reconstructing the creative
lege courses in "Form and -4naly- word "form" by other writers to process by which it has come into being.'
sis" has carried over to the junior describe both.
It follows then that an under-
high school general music class. In "Paradigms for a Definition of
standing" of musical form will be
However. this article is not in- \lusical Form," Philip Slates has
most meaningful when the per-
tended as a condemnation of what thoroughly treated these two mean-
former or listener begins to grasp
has been done in general music ings or aspects of musical form and
the role of form in the creati1.e
classes, but rather it is an attempt tl-~eirrelationshinI to each other. He
process of the composer. What is
to explain a more promising 'ip- suggests that we distinguish be-
form to a composer? It is safe to
proach to the understanding of tween "analytical form" (form as
assume that the composer who
n~usicalform for junior high school an objective consideration existing
reallv knows his craft is not likelv
students. in a musical obiect and amenable
J
to b i concerned with creating" sornk
First, the meaning of the word to analysis-static, object-centered)
arbitrary, preconceived structural
"form" as applied to I ~ L I S ~must
C be and "experiential form" (form as
design like a sonata-allegro move-
defined. Apel, in the Harca1.d Dic- an aesthetic experience existing in
ment, a rondo, a fugue; with pour-
fionnrrl of Jltisic, has pointed out the individual and subject to psy-
ing his ideas into some rigid mold."
that the term has sufkered from a chological considerations-dynamic,
Rather he will b e concerned (per-
great deal of ambiguity in usage. interaction of subject and object) ."
haps only subconsciously) with
For clarificdtion he suggests mak- This distinction between static and
how his musical ideas may b e
ing a distinction between "form in dynamic form will be the bac;s for
~nanipulatedto create the feeling
' co~nposition" c ~ ~ l c
1 "the
l form of the discussion which follows.
of tension and consecluent release,
a composition." The former may be If an understanding " of musical with how these patterns of tension
understood to include all of the form is essential to the develop-
theoretical and compositional prin- ment of a more refined luusical ' E r n s t Cassirer, , 4 7 2 E s s a y 077 .Ilait
ciples of music, kvhile the latter taste and is therefore an important (New Haven, Conn.: Yale University
P r e s s , 1 9 4 4 ) , p. 149. S e e also Roger Ses-
refers to the jdan of construction, part of any general music curricu- sions, T k e A14~csicalE x p e r r e n c e o f C o m -
i.e., sonata-allegro, rondo, varia- lum, then we must ask several poser, P e r f o r m e r , L i s t e n e r ( P r ~ n c e t o n ,
N.J.: Princeton U n i v e r s ~ t y P r e s s , 1950),
tion.' Although this distinction is - - 7-8.
DD.
--
-Guido Adler, "Style-Criticism," t r a n s .
helpful it is limited; for both by JT. Oliver S t r u n k , T h e Alusical Qztar- "ranted, t h e composer who is s e t t i n g
phrases place the emphasis on the t c r l y , X X , No. 2 (1934), 172-176. a t e x t is likely to be g r e a t l y influenced by
- -- t h e design of t h i s t e x t , b u t t h e r e is ample
'Philip 31. Slates, " P a r a d i g m s f o r a evidence t h a t t h e g r e a t comnosers in t h e
'Willi Apel, H n r r o r d D i c t i o n a r y qf Definition of Musical F o r m " (unpublished history of music h a v e never allowed them-
~ ? f ~ c s i (eCambridge, Mass.: H a r v a r d Uni- Doctor of Musical A r t s thesis, University selves t o become slaves t o t h e words t h e y
versity P r e s s , 1950), p. 277. of Illinois, 1961). were s e t t i n g .

SEPTEMBER-OCTOBER, NINETEEN SIXTY-FOUR

and repose may be developed to the rather obvious fact that the
produce contrast, climax, balance, dynamic form of each and every
and unity within variety. In other musical composition is unique.
words, the composer is more con- Consequently, the study of "classi-
cerned with dynamic form than cal forms" or structural diagrams
with static form. which are supposed to represent
If the foregoing assumptions are the "form" of large numbers of
valid then the aim of an intelligent musical works in a variety of styles
listener should be to attempt to is of .little value and is often mis-
re-create in his own experience the leading insofar as understanding
dynamic form as it is expressed by the dynamic form of a particular
a composer in his music. Our im- composition is concerned.
mediate problem now becomes the It should also be apparent that
determination of those factors in tonal function is closely related
music which cause us to experience to the entire history of the devel-
feelings of tension and release, of opment of musical styles. In fact,
climax, of contrast, and how the it might even be said that the his-
junior high school student can be tory of musical styles is the history
led to an awareness of these and of how tones function in various
their role in the creative process. contexts. Thus musical style and
To a great extent the factors in dynamic form are completely inter-
music which tend to produce feel- dependent.
ings of tension in the experience of If the junior high school general
the listener are those features music student is to develop a capac-
whose production requires more ity to experience the dynamic form
physical energy on the part of the of music, obviously he must de-
performer or whose comprehension velop his aural awareness of musi-
requires more mental effort on the cal pitches and rhythms. This does
part of the listener. A rise in the not mean just the ability to recog-
pitch of a vocal line requires a nize particular tones or rhythms
greater intensity of vocal effort- either isolated or in context (al-
hence a feeling of increased ten- though this is part of it), but to
sion. Similarly, an increase in perceive the relations of tones and
dynamic intensity or heavy accents rhythms to each other according
produces tension because we sub- to their placement in a given con-
consciously use more energy in text. The extent to which aural abil-
their production. The more com- ity of this sort can be furthered in
plex melodic, harmonic, rhythmic, the seventh, eighth, or ninth grade
or contrapuntal elements are, the depends, of course, upon the stu-
more mental effort required on the dent's musical background in the
part of the listener and thus the first six grades. And yet, a lack of
greater the feeling of tension. any background at all should not
Tension and release are also be an excuse for making no attempt
closely related to the functions of to develop some awareness and un-
tones; but more important still, our derstanding of form in music.
perception of balance and unity Consider for a moment two musi-
in a composition is dependent upon cal examples for possible practical
a conscious or subconscious aware- applications of the above concepts.
ness of these functions. An appre- Assume that your general music
ciation of the dynamic form of class is learning to sing "0Come,
music is therefore dependent upon O Come, Immanuel." What can
one's ability to grasp the signifi- you tell these students or what can
cance of tones in motion, to be able you help them to feel with regard
to understand the relationship of to the form of this ancient plain-
one tone, one chord, one rhythmic song? You can of course draw
pattern to all others used by the from them the fact that there are
composer. three stanzas, each followed by a
We must hasten to add that un- refrain, and that we call this kind
derstanding tonal motion is, of of structural pattern "strophic."
course, a highly complex matter You can also help them to recog-
in itself. The function of tones not nize the four cadences of the stanza
only varies from composition to and the two cadences of the refrain
composition but may also, and fre- and thus to be aware of a musical
quently does, change within a structure of six phrases. But this
single work. This serves to point up is only a small part of the whole
picture, and it is doubtful that it is
the first part which should be Set fire t o your reed troubles!
brought to their attention.
Consider at first only the melody
(the harmony was of course added
centuries after the melody was
composed). You might begin by
having the class hum through one
complete stanza and refrain, ask-
ing them to stagger their breathing
so that a complete cessation of
tone for a breath occurs only at the
end of the stanza, prior to the re-
frain. Singing the melody in this
NEW -

manner a few times should help

them to feel its forward motion or
the tension which develops; tension
which reaches a high point (cli-
FIBERCANE"
-- -

max) in the first phrase of the re-

frain and then is gradually relaxed
to the end.
What causes this feeling of ten-
sion? Several factors may be
REED
pointed out.
The melody reaches its highest Precision-cut of
pitch at the beginning of the man-made unidirectional
refrain. fiber m a t e r i a l !
The melody does not arrive at
a pitch which produces a sense LOOKS LlKE CANE,
of finality at the end of the FEELS LlKE CANE,
stanza. EVERY ONE PLAYS
' The tonal center of both mel- LlKE THE BEST CANE!
ody and harmony shifts from
E at the beginning of the Outlasts as many as 25 cane

..
stanza and at the beginning of reeds; plays at peak performance
the refrain. for several months. Playable
' The use of longer note values
at the beginning of the first instantly- requires no wetting.
phrase of the refrain gives sup- May be sanded, shaved or

.
port to this point as a climax. trimmed. Unaffected by any
What in this melody gives us the
feeling that it has unity, and vari-
changes in weather or tempera-
ety within this unity? ture; plays equally well indoors
Those aspects which unify are: or out. It's waterproof-will
' The pitches of the melody and not go dead or soft. Plays even
their arrangement outline E
as a tonal center at the begin- if tip should become split. Ends
ning of the stanza and at the the major cause of squeaking.
end of the refrain. All reeds play the same because
' The motive b-a-c-b-a-g of the Fibercane is man-made to scienti-
first phrase reappears in the
fourth and fifth phrases. fically-controlled tolerances.Takes
' The last phrase is an exact the guesswork out of selecting.
repetition of phrase two.
Variety results from: Set fire to your reed problems!
The contrast of phrase three. Ask to see, try, buy a
FIBERCANE REED
The pitch changes which make at your favorite music store!
phrase four slightly different
from phrase one, and when
Distributed exclusively by
heard following phrase three
gives the feeling of a shift to
a tonal center of G .
' T h e rhythmic and pitch
changes which make phrase
CONTINUED ON PAGE146
 Musical Form:
Dynamic vs. Static

MASTE
b y EDWARD BROOKHART

Continued from Page 93

Chromatic Pitch Instrument

and Note Selector - "S" Series five different from phrases one
Now, for your convenience, this
and four and also longer than
Combination "I"
well-known Pitch Instrument Series in New Box any of the other phrases. (The
is combined with the potented lengthening of this phrase also
removable note selector and
packaged i n o beoutiful contributes to its climactic
polypropylene hinged carrying effect.)
cose. A sanitary all-blow These are only some of the as-
instrument with 13 bronze reeds
orecision tuned to A-440, the pects of this melody, directly or
full chromatic scale. 3 models indirectly related to its form, which
MKl-S-Scale F to F
....
. MASTER KEY NOTE SELECTOR
"Finds" correct note in the dark
MK2-S-Scale C to C
MK3-S-Scale Eb to Eb
might be discussed and aurally
recognized by your students.
.. -
' Positions securely
-.~ Consider now a second, longer
.........................
lthan.-
. - ~
.asilr
.. to ether
- notes rP pitch
A ~ T
6rom
Instrumen( Cotolos Aroilabl*
your n*ar.st deoler or writ* to
example: a listening lesson cen-
tered around the fourth movement
of Aaron Copland's Symphony No.
m

There are any number of pos-

sible points of departure for intro-
ducing this work to your general
music class. This, however, is not
NEW BEAUTIFUL CHORAL M U S I C FOR CHRISTMAS what concerns us here. Rather we
from the Evan-Georgeoff Catalogue are interested in what may be
S.A.T.B. brought out concerning the form of
* O l d Kris Kringle..........................................................................................b y M. Peacock
Arr. Clifford P. Barnes
the movement. Copland himself
savs that this movement resembles
* Three Wishing Candles................................................................................ b y M. Peacock
Arr. Clifford P. Barnes
in its structure sonata-allegro form.
* A W r e a t h o f H o l l y...................................................................................... b y M. Peacock
Arr. Clifford P. Barnes
Regardless of this, and even if your
class has previously been intro-
* It's A l w a y s Christmas............................................................................
(In My Heart)
b y Ray Matourek duced to sonata-allegro structures,
Nos. 1, 2 8 3 available f o r solo voice with
it is doubtful that vou should be-
piano accompaniment. Price (each) 50$. gin by comparing the structure of
this movement with that of a
A L S O THESE T W O MODERN D I S T I N C T I V E S O N G S i n S.A.T.B.
* A Song f o r Judy ...................................................................................... b y Ray Matousek
-
classical sonata-allegro pattern.
Assuming that vour class has dis-
cussed musical tension, unity, vari-
* If You Believe i n Make-Believe ............................................................
b y Ray Matousek
d

ety in some shorter, less complex

.

S.A.T.B. Price (each) 50$. compositions, it might be well to

To receive free reference copies o f a n y o f t h e begin by describing briefly to the
Chorals listed, w r i t e t o students the motives and themes
of the four main sections of the
EVAN-GEORGEOFF MUSIC PUBLISHING CO. movement and how these musical
5003 Ridgebury Blvd. Cleveland 24, O h i o ideas are manipulated by the com-
poser. (Multiple copies of this
description might be distributed to
the students for them to follow
during their first hearing of the
AT LAST-a definitive text with a fresh approach! work.
On second hearing of this move-
THE PSYCHOLOGY OF CORNET AND TRUMPET PLAYING ment6 you might ask the students
by Dr. Clyde E. Noble, University of Georgia to tentatively identify the climactic
with a Foreword by Dr. Frank Simon, University of Arizona points of each of the four main sec-
Frank Simon hails this book as "the most comprehensive compilation
of valuable information for the cornet and trumpet ever written." tions of the movement: and to de-
CONTENTS ( Pt
I: Historical and Scientific Background.
art 11: Practical Problems of Artistic Performance.
termine what devices the composer
Also endorsed by these leading brass authorities: Vincent Bach Mel Broiler James Burke.
has used to bring about these cli-
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Art Will. Over 100 photographs and drawings. @Itis questionable that a work of this
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Price-$5.00 plus 25 cents for postage and handling. Send check or money order to to any music class unless time permits
THE MOUNTAIN PRESS, 283 West Front St.. Missoula. Montana two or more hearings.

MUSIC EDUCATORS JOURNAL

maxes. With careful listening they
should be able to note that the
principal devices Copland has used
to create tension are complexity of
texture (highly contrapuntal ), ir-
FOLK SONGS with DESCANTS
regular rhythms, angular melodic Delightful two-part settings, melody
lines, and vertical dissonances. And and descant, of American and other
since they have been provided with
a description, it should be no prob-
lem for them to recognize some of
the more important factors which
contribute to unity and variety.
The type of analysis suggested
by the two preceding examples
should not only contribute to a
better understanding of the par-
ticular compositions but, in the long MASTER THEORY
run, should prove to have more
carry-over to the study of other Workbooks for General Music
works than would a mere introduc-
tion to sonata-allegro or other by Charles Peters and Paul Yoder
"classical forms."
It should also be pointed out that
although these examples are given
with the general music class in
mind. there is no reason whv these
ideas' cannot and should Lot be
applied to rehearsals of performing W r i t e f o r complete miniatures of Book I f I1
organizations - orchestras, bands,
choirs. The greater performance Neil A. Kjos Music Co., Publisher
proficiency possessed by these stu-
dents should make possible an even
deeper understanding of the dy-
namic form of the music they play
and sing. But at the same time, if ete selection of distinc-
they are not properly guided, their es and quality fabrics.
technical proficiency may only nge of colors and
stand in the way of developing a
real sensitivitv
, to the ex~ressive-
A
ness of music.
Music is a symbolic language by
which man has tried to express
certain feelings, emotions, and COLLEGIATE CAP & GOWN C O M P A N Y
ideas which cannot be ~ A
u into
t
words. In a sense the young stu- 6r.n C
dent must approach music much r,qrrw
as he would the learning of a for-
eign language. Just as the first
-* r - - f *-j-rJ
words learned in a foreign " lan- I
guage are translated into his native LONG ISLAND CITY, N.Y. CHAMPAIGN, I L L CHICAGO, ILL. VAN NUYS, CAL.
tongue, so too must we try to help
him verbalize his early experiences
with musical ideas. Then.' iust as
J

he learns, with practice and experi-

ence, to "think in a foreign lan- 2

guage and begins to understand

those subtleties of meaning which
Dr. Carlton Lake
cannot be translated. so too he And TheA ZZ-PhiZadeIphia boy^ ChoirEnsemble
will learn to think in musical terms Now available on a twelve-inch microgroove record, Dr. Lake's inter-
and begin to grasp certain ideas esting and informative lecture at the MENC Convention last March.
and feelings which can only be Also included are selections by the Boys Choral Ensemble.
expressed musically. $3.98 POSTPAID $3.98
The author is Assistant Professor pf PHILADELPHIA RECORDING CENTER-8612 Germantown Ave.
Chestnut Hill-Philadelphia, Penna. 19118
Music at the University of Texas, Austin.

SEPTEMBER-OCTOBER. NINETEEN SIXTY-FOUR 147

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Musical Form: Dynamic vs. Static
Edward Brookhart
Music Educators Journal, Vol. 51, No. 1. (Sep. - Oct., 1964), pp. 91-93+146-147.
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[Footnotes]

2
Style-Criticism
Guido Adler; W. Oliver Strunk
The Musical Quarterly, Vol. 20, No. 2. (Apr., 1934), pp. 172-176.
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