{"id":815,"date":"2023-05-24T16:05:12","date_gmt":"2023-05-24T16:05:12","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/strophic-form\/"},"modified":"2025-08-18T22:12:11","modified_gmt":"2025-08-18T22:12:11","slug":"strophic-form","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/strophic-form\/","title":{"raw":"Strophic form","rendered":"Strophic form"},"content":{"raw":"<div class=\"strophic-form\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 36<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How strophic and modified strophic forms are organized<\/li>\r\n \t<li>To explore strophic and modified strophic formal organization aurally and in score analysis<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Strophic form\"><\/a>Strophic form<\/h1>\r\n<p class=\"import-Normal\">[pb_glossary id=\"4051\"]Strophic[\/pb_glossary] form is one of the most common form types for vocal music in a variety of genres. Songs that use strophic form use and re-use the same musical material, but with each iteration, new text is sung.<\/p>\r\n<p class=\"import-Normal\">When strophic form is used without modifications for settings of each [pb_glossary id=\"4069\"]strophe[\/pb_glossary] (also referred to as a verse or stanza), it often appears using repeat signs around the repeated musical material, with the lyrics for different verses beneath the staff. See an example of this in Josephine Lang\u2019s op. 6, no. 3 \u201cFr\u00fchzeitiger Fr\u00fchling\u201d (Example 36\u20111). This song features an [pb_glossary id=\"4824\"]introduction[\/pb_glossary] (mm. 1\u20134) and a conclusion, which we call a \u201c[pb_glossary id=\"4822\"]coda[\/pb_glossary]\u201d (mm. 18\u201322), in addition to the strophic treatment of verses in the repeated mm. 5\u201317. You can always add an introduction\u00a0and\/or coda to any piece without altering its primary form.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 36\u20111. Josephine Lang, op. 6, no. 3, \u201cFr\u00fchzeitiger Fr\u00fchling\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image94-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image94-1.png\" width=\"1860\" height=\"2375\" alt=\"image\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image95-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image95-1.png\" width=\"1857\" height=\"2712\" alt=\"image\" class=\"alignnone\" \/><\/a><\/p>\r\nListen to the piece, performed by Heidi Kommerell, on <a href=\"https:\/\/open.spotify.com\/track\/0MRBfOkFSwxLZlGh3z2zkp?si=ddc454ab0f7643f5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nRead an <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=27759\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text from German to English by Sharon Krebs and Harald Krebs on lieder.net.\r\n\r\nLearn about German composer <strong>Josephine Lang<\/strong> (1815\u20131880) by reading this <a class=\"rId175\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.15965\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Marcia Citron.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\nFigure 36\u20111 displays the overall form design of Example 36\u20111 as notated with repeat signs, and Figure 36\u20112 shows the form as perceived with repeats written out.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 36\u20111. Overall form design of Example 36\u20111<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image92-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image92-1.png\" width=\"1301\" height=\"126\" alt=\"image of form diagram. Introduction spanning measure 1 to 4, A section enclosed in repeat signs spanning measure 5 to 17, amd coda spanning measure 18 to 22.\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 36\u20112. Perceived form design of Example 36\u20111 with repeats written out<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image93-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image93-1.png\" width=\"1301\" height=\"72\" alt=\"image of form diagram. Two vertical lines, introduction, two vertical lines, capital A, two vertical lines, capital A-prime, two vertical lines, capital A-double-prime, two vertical lines, capital A-triple-prime, two vertical lines, coda, two vertical lines.\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"strophic-form\">\r\n<h1><a id=\"Modified strophic form\"><\/a>Modified strophic form<\/h1>\r\n<p class=\"import-Normal\"><span>Often, composers use variation in the setting of each strophe, which we call [pb_glossary id=\"4074\"]modified strophic form[\/pb_glossary]. Because the repetitions are not exact in this case, repeat signs are not used; instead, each strophe is written out individually to enable variation, creating a longer score.<\/span> An example of modified strophic form appears in Example 36\u20112.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 36\u20112. Transcription of Paul Simon, \u201cApril Come She Will\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev-592x1024.png\" alt=\"image of score\" width=\"592\" height=\"1024\" class=\"wp-image-4077 size-large aligncenter\" \/><\/a>\r\n\r\nListen to the song, recorded by Paul Simon and Art Garfunkel, on <a href=\"https:\/\/open.spotify.com\/track\/0djZ2ndRfAL69WYNra5jRC?si=f32edd3da93040a4\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer-songwriter <strong>Paul Simon<\/strong> (b. 1941) by reading this <a class=\"rId176\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46624\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by David Brackett.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><span style=\"font-size: 14pt\">The audio recording in Example 36\u20112 features an instrumental introduction, notated in the transcription as mm. 1\u201311, before the first strophe begins about twelve seconds in. The settings of the first two strophes are similar\u2014having nearly identical melodic structure and chord changes\u2014as evidenced in the transcription by comparing mm. 12\u201332 to mm. 37\u201357. Although the setting of the third strophe (notated as mm. 62\u201381) has the same overall structure (thus sounding like A'' rather than B), it deviates near the end of the section and thus requires a new, differently written section in the transcription. Figure 36\u20113 summarizes the perceived form of the audio recording featured in Example 36\u20112.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 36\u20113. Form diagram for Example 36\u20112<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<span style=\"text-decoration: underline\">Time<\/span>\u00a0\u00a0\u00a0 <span style=\"text-decoration: underline\">Measures<\/span>\u00a0 <span style=\"text-decoration: underline\">Section<\/span>\r\n\r\n0:00\u00a0\u00a0\u00a0\u00a0 1\u201311\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 [pb_glossary id=\"4829\"]Intro[\/pb_glossary]\r\n\r\n0:12\u00a0\u00a0\u00a0\u00a0 12\u201332\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Verse 1 (A)\r\n\r\n0:37\u00a0\u00a0\u00a0\u00a0 33\u201336\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Interlude\r\n\r\n0:42\u00a0\u00a0\u00a0\u00a0 37\u201357\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Verse 2 (A')\r\n\r\n1:07\u00a0\u00a0\u00a0\u00a0 58\u201361\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Interlude\r\n\r\n1:12\u00a0\u00a0\u00a0\u00a0 62\u201381\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Verse 3 (A'')\r\n\r\n1:35\u00a0\u00a0\u00a0\u00a0 82\u201389\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 [pb_glossary id=\"4830\"]Outro[\/pb_glossary]\/[pb_glossary id=\"4822\"]coda[\/pb_glossary]\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 36-1 Analysis with strophic form\"><\/a>EXERCISE 36-1 Analysis with strophic form<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 36-1 Analysis with strophic form<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nIf possible, obtain access to a score for \"The Daffodils,\" Adolphus Hailstork's beautiful setting of poetry by William Wordsworth. If you cannot access the score, you can still analyze the music aurally. This piece is in modified strophic form, and the score has no repeat signs; all strophes are written out, with variations among the sections. By listening to the recording and studying the score, create a form diagram that shows the measure numbers and\/or track timings of each section, along with the section name. Pro tip: this piece features an [pb_glossary id=\"4824\"]introduction[\/pb_glossary] and [pb_glossary id=\"4822\"]coda[\/pb_glossary], in addition to the standard strophes.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 36-1. Adolphus Hailstork, \u201cThe Daffodils\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/3ievPKsx7T0?si=5qMcg0tfdgOxt2Kf\r\n\r\nWatch soprano Amber Cierra Merritt perform this piece on YouTube.\r\n\r\nLearn about American composer <strong>Adolphus <\/strong><strong>Hailstork<\/strong> (b. 1941) by reading this <a class=\"rId177\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.42700\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Doris Evans McGinty.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex36.1-Analysis-with-strophic-form.pdf\" target=\"_blank\" rel=\"noopener\">Ex36.1 Analysis with strophic form<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n<p class=\"p1\">Listen to the audio examples featured in this chapter and many more examples of strophic form here: <a class=\"rId178\" href=\"https:\/\/open.spotify.com\/playlist\/3Gb8PqaBWmAQUsUZ47KmWC?si=1374be9dbf864be5\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for strophic form<\/span><\/a><\/p>\r\n\r\n<\/div>\r\n<div class=\"strophic-form\">\r\n\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">For further reading<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nMalawey, Victoria. 2014. \u201cStrophic Modification in Songs by Amy Beach.\u201d <em>Music Theory Online<\/em> 20, no. 4 (December), <a class=\"rId179\" href=\"http:\/\/www.mtosmt.org\/issues\/mto.14.20.4\/mto.14.20.4.malawey.html\"><span class=\"import-Hyperlink\">http:\/\/www.mtosmt.org\/issues\/mto.14.20.4\/mto.14.20.4.malawey.html<\/span><\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"strophic-form\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 36<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How strophic and modified strophic forms are organized<\/li>\n<li>To explore strophic and modified strophic formal organization aurally and in score analysis<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Strophic form<\/h1>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_815_4051\">Strophic<\/a> form is one of the most common form types for vocal music in a variety of genres. Songs that use strophic form use and re-use the same musical material, but with each iteration, new text is sung.<\/p>\n<p class=\"import-Normal\">When strophic form is used without modifications for settings of each <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_815_4069\">strophe<\/a> (also referred to as a verse or stanza), it often appears using repeat signs around the repeated musical material, with the lyrics for different verses beneath the staff. See an example of this in Josephine Lang\u2019s op. 6, no. 3 \u201cFr\u00fchzeitiger Fr\u00fchling\u201d (Example 36\u20111). This song features an <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_815_4824\">introduction<\/a> (mm. 1\u20134) and a conclusion, which we call a \u201c<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_815_4822\">coda<\/a>\u201d (mm. 18\u201322), in addition to the strophic treatment of verses in the repeated mm. 5\u201317. You can always add an introduction\u00a0and\/or coda to any piece without altering its primary form.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 36\u20111. Josephine Lang, op. 6, no. 3, \u201cFr\u00fchzeitiger Fr\u00fchling\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image94-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image94-1.png\" width=\"1860\" height=\"2375\" alt=\"image\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image95-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image95-1.png\" width=\"1857\" height=\"2712\" alt=\"image\" class=\"alignnone\" \/><\/a><\/p>\n<p>Listen to the piece, performed by Heidi Kommerell, on <a href=\"https:\/\/open.spotify.com\/track\/0MRBfOkFSwxLZlGh3z2zkp?si=ddc454ab0f7643f5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Read an <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=27759\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text from German to English by Sharon Krebs and Harald Krebs on lieder.net.<\/p>\n<p>Learn about German composer <strong>Josephine Lang<\/strong> (1815\u20131880) by reading this <a class=\"rId175\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.15965\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Marcia Citron.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<p>Figure 36\u20111 displays the overall form design of Example 36\u20111 as notated with repeat signs, and Figure 36\u20112 shows the form as perceived with repeats written out.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 36\u20111. Overall form design of Example 36\u20111<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image92-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image92-1.png\" width=\"1301\" height=\"126\" alt=\"image of form diagram. Introduction spanning measure 1 to 4, A section enclosed in repeat signs spanning measure 5 to 17, amd coda spanning measure 18 to 22.\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 36\u20112. Perceived form design of Example 36\u20111 with repeats written out<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image93-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image93-1.png\" width=\"1301\" height=\"72\" alt=\"image of form diagram. Two vertical lines, introduction, two vertical lines, capital A, two vertical lines, capital A-prime, two vertical lines, capital A-double-prime, two vertical lines, capital A-triple-prime, two vertical lines, coda, two vertical lines.\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"strophic-form\">\n<h1><a><\/a>Modified strophic form<\/h1>\n<p class=\"import-Normal\"><span>Often, composers use variation in the setting of each strophe, which we call <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_815_4074\">modified strophic form<\/a>. Because the repetitions are not exact in this case, repeat signs are not used; instead, each strophe is written out individually to enable variation, creating a longer score.<\/span> An example of modified strophic form appears in Example 36\u20112.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 36\u20112. Transcription of Paul Simon, \u201cApril Come She Will\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev.png\" target=\"_blank\" rel=\"noopener\"><\/p>\n<div class=\"cc-attribution-box-container\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev-592x1024.png\" alt=\"image of score\" width=\"592\" height=\"1024\" class=\"wp-image-4077 size-large aligncenter\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev-592x1024.png 592w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev-173x300.png 173w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev-768x1329.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev-888x1536.png 888w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev-1184x2048.png 1184w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev-65x112.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev-225x389.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-36.2-rev-350x606.png 350w\" sizes=\"auto, (max-width: 592px) 100vw, 592px\" \/><\/p>\n<div class=\"cc-attribution-box\"> <\/div>\n<\/div>\n<p><\/a><\/p>\n<p>Listen to the song, recorded by Paul Simon and Art Garfunkel, on <a href=\"https:\/\/open.spotify.com\/track\/0djZ2ndRfAL69WYNra5jRC?si=f32edd3da93040a4\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer-songwriter <strong>Paul Simon<\/strong> (b. 1941) by reading this <a class=\"rId176\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46624\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by David Brackett.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><span style=\"font-size: 14pt\">The audio recording in Example 36\u20112 features an instrumental introduction, notated in the transcription as mm. 1\u201311, before the first strophe begins about twelve seconds in. The settings of the first two strophes are similar\u2014having nearly identical melodic structure and chord changes\u2014as evidenced in the transcription by comparing mm. 12\u201332 to mm. 37\u201357. Although the setting of the third strophe (notated as mm. 62\u201381) has the same overall structure (thus sounding like A&#8221; rather than B), it deviates near the end of the section and thus requires a new, differently written section in the transcription. Figure 36\u20113 summarizes the perceived form of the audio recording featured in Example 36\u20112.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 36\u20113. Form diagram for Example 36\u20112<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><span style=\"text-decoration: underline\">Time<\/span>\u00a0\u00a0\u00a0 <span style=\"text-decoration: underline\">Measures<\/span>\u00a0 <span style=\"text-decoration: underline\">Section<\/span><\/p>\n<p>0:00\u00a0\u00a0\u00a0\u00a0 1\u201311\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_815_4829\">Intro<\/a><\/p>\n<p>0:12\u00a0\u00a0\u00a0\u00a0 12\u201332\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Verse 1 (A)<\/p>\n<p>0:37\u00a0\u00a0\u00a0\u00a0 33\u201336\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Interlude<\/p>\n<p>0:42\u00a0\u00a0\u00a0\u00a0 37\u201357\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Verse 2 (A&#8217;)<\/p>\n<p>1:07\u00a0\u00a0\u00a0\u00a0 58\u201361\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Interlude<\/p>\n<p>1:12\u00a0\u00a0\u00a0\u00a0 62\u201381\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Verse 3 (A&#8221;)<\/p>\n<p>1:35\u00a0\u00a0\u00a0\u00a0 82\u201389\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_815_4830\">Outro<\/a>\/<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_815_4822\">coda<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 36-1 Analysis with strophic form<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 36-1 Analysis with strophic form<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>If possible, obtain access to a score for &#8220;The Daffodils,&#8221; Adolphus Hailstork&#8217;s beautiful setting of poetry by William Wordsworth. If you cannot access the score, you can still analyze the music aurally. This piece is in modified strophic form, and the score has no repeat signs; all strophes are written out, with variations among the sections. By listening to the recording and studying the score, create a form diagram that shows the measure numbers and\/or track timings of each section, along with the section name. Pro tip: this piece features an <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_815_4824\">introduction<\/a> and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_815_4822\">coda<\/a>, in addition to the standard strophes.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 36-1. Adolphus Hailstork, \u201cThe Daffodils\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"Daffodils from Three Simple Songs- Adolphus Hailstork\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/3ievPKsx7T0?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Watch soprano Amber Cierra Merritt perform this piece on YouTube.<\/p>\n<p>Learn about American composer <strong>Adolphus <\/strong><strong>Hailstork<\/strong> (b. 1941) by reading this <a class=\"rId177\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.42700\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Doris Evans McGinty.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex36.1-Analysis-with-strophic-form.pdf\" target=\"_blank\" rel=\"noopener\">Ex36.1 Analysis with strophic form<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">\n<p class=\"p1\">Listen to the audio examples featured in this chapter and many more examples of strophic form here: <a class=\"rId178\" href=\"https:\/\/open.spotify.com\/playlist\/3Gb8PqaBWmAQUsUZ47KmWC?si=1374be9dbf864be5\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for strophic form<\/span><\/a><\/p>\n<\/div>\n<div class=\"strophic-form\">\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">For further reading<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Malawey, Victoria. 2014. \u201cStrophic Modification in Songs by Amy Beach.\u201d <em>Music Theory Online<\/em> 20, no. 4 (December), <a class=\"rId179\" href=\"http:\/\/www.mtosmt.org\/issues\/mto.14.20.4\/mto.14.20.4.malawey.html\"><span class=\"import-Hyperlink\">http:\/\/www.mtosmt.org\/issues\/mto.14.20.4\/mto.14.20.4.malawey.html<\/span><\/a>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_815_4051\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_815_4051\"><div tabindex=\"-1\"><p>form consisting of repeating sections (called strophes, verses, or stanzas), each with different lyrics set to the same melody and harmonic content<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_815_4069\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_815_4069\"><div tabindex=\"-1\"><p>term referring to one section in a strophic song; also called a verse or stanza<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_815_4824\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_815_4824\"><div tabindex=\"-1\"><p>beginning section of a piece or movement<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_815_4822\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_815_4822\"><div tabindex=\"-1\"><p>ending section of a piece or movement<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_815_4074\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_815_4074\"><div tabindex=\"-1\"><p>strophic form in which settings of one or more strophes are varied<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_815_4829\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_815_4829\"><div tabindex=\"-1\"><p>abbreviation for \"introduction,\" which refers to a section at the beginning of a piece or movement<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_815_4830\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_815_4830\"><div tabindex=\"-1\"><p>synonym for \"coda\" used in pop music analysis, which refers to a section at the end of a piece<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":36,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-815","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/815","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":24,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/815\/revisions"}],"predecessor-version":[{"id":7131,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/815\/revisions\/7131"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/815\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=815"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=815"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=815"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=815"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}