{"id":818,"date":"2023-05-24T16:05:13","date_gmt":"2023-05-24T16:05:13","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/form-designs-in-pop-rock\/"},"modified":"2025-08-18T22:13:06","modified_gmt":"2025-08-18T22:13:06","slug":"form-designs-in-pop-rock","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/form-designs-in-pop-rock\/","title":{"raw":"Form designs in pop and rock","rendered":"Form designs in pop and rock"},"content":{"raw":"<div class=\"form-designs-in-pop-&amp;-rock\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 37<\/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>Some of the most common ways of organizing form in popular music<\/li>\r\n \t<li>How to listen for form aurally in non-notated music<\/li>\r\n \t<li>Where to learn more about form in popular music<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Normative form designs in pop and rock music\"><\/a>Normative form designs in pop and rock music<\/h1>\r\n<p class=\"import-Normal\">Thinking very broadly about popular music (inclusive of pop, rock, jazz, indie, country, and other popular genres), we can identify a number of normative form designs. The list that follows is not exhaustive, but rather summarizes the most commonly used formal designs in popular music.<\/p>\r\n\r\n<h2>The twelve-bar blues<\/h2>\r\n<p class=\"import-Normal\">The [pb_glossary id=\"4095\"]twelve-bar blues[\/pb_glossary] is a form design based on harmonic progression, as shown in Figure 37\u20111. Example 37\u20111 features the twelve-bar blues in Big Mama Thornton\u2019s famous tune \u201cHound Dog.\u201d<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 37\u20111. The twelve-bar blues formal design<\/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\/image106-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image106-1.png\" width=\"801\" height=\"136\" alt=\"image that reads Roman numerals one, four in parentheses, one, one, four, four, one, one, five, four, one, five in parentheses. The first four Roman numerals are labelled &quot;Question.&quot; The middle four are labelled &quot;Question again.&quot; The last four Roman numerals are labelled &quot;Answer&quot;\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 37\u20111. Big Mama Thornton, \u201cHound Dog,\" 0:05\u20130:31<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-37.1.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4GgmAsaolWaBPn4DofdCck?si=2465cdfa271141bf\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American blues singer and songwriter <strong>Big Mama (Willie Mae) Thornton<\/strong> (1926\u20131984) by reading this <a class=\"rId186\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289562\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maureen Mahon.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"form-designs-in-pop-&amp;-rock\">\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T67 Form in pop, part 1: Overview and 12-bar blues (3:02)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/gFJ5kCO-7wA\r\n<p class=\"import-Normal\">This video provides a brief overview of the most common form designs in pop and rock music, and it introduces twelve-bar blues, as shown in Big Mama Thornton's \"Hound Dog\" (Example 37-1).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h2>Strophic form<\/h2>\r\n<p class=\"import-Normal\">As we learned in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/strophic-form\/\" target=\"_blank\" rel=\"noopener\">Chapter 36<\/a>, [pb_glossary id=\"4051\"]strophic[\/pb_glossary] forms consist of repeating sections (called [pb_glossary id=\"4069\"]strophes[\/pb_glossary], [pb_glossary id=\"4116\"]verses[\/pb_glossary], or [pb_glossary id=\"4122\"]stanzas[\/pb_glossary]), each with different lyrics set to the same melody and harmonic content. Some strophic forms feature a recurring [pb_glossary id=\"4101\"]tail refrain[\/pb_glossary] at the end of each strophe (verse), as in Example 37\u20112, which concludes each verse with the same lyrics: \u201cThe answer, my friend, is blowin\u2019 in the wind \/ the answer is blowin\u2019 in the wind.\u201d In the studio recording featured in Example 37-2, the tail refrains occur at 0:36\u20130:45, 1:28\u20131:38, and 2:21\u20132:31.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 37\u20112. Bob Dylan, \u201cBlowin\u2019 in the Wind,\u201d 0:36\u20130:45<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-37.2.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/18GiV1BaXzPVYpp9rmOg0E?si=3758e6532e2e4b87\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American songwriter <strong>Bob Dylan<\/strong> (b. 1941) by reading this <a class=\"rId187\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2256398\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Kenneth Habib.\r\n\r\n<\/div>\r\n<\/div>\r\n<h2>AABA form<\/h2>\r\n<p class=\"import-Normal\">[pb_glossary id=\"4106\"]AABA form[\/pb_glossary] is typically in [pb_glossary id=\"3779\"]32-bar song form[\/pb_glossary], as we previously explored in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/binary-form\/\" target=\"_blank\" rel=\"noopener\">Chapter 34<\/a>. The A sections are verses, featuring the same melodic and harmonic content with different lyrics, and the B section is the [pb_glossary id=\"3780\"]bridge[\/pb_glossary], containing contrasting material. A standard form design in jazz music, AABA form is pop\u2019s version of [pb_glossary id=\"3777\"]rounded binary[\/pb_glossary]. John Covach observes that the focus of AABA form is on the verse (2005, 71).<\/p>\r\n\r\n<h2>Verse-chorus form<\/h2>\r\n<p class=\"import-Normal\">Covach provides a detailed exploration of the [pb_glossary id=\"4107\"]verse-chorus form[\/pb_glossary], a staple of popular music (2005, 71\u201374). These forms feature an alternation between verse and chorus sections, where the verses feature different lyrics set to the same melody and harmonic content, and the chorus sections feature the same lyrics, melody, and harmonic content in each statement. In contrast to AABA forms, the focus in verse-chorus form is on the chorus section (Covach 2005, 71).<\/p>\r\n<p class=\"import-Normal\">There are two types of verse-chorus form. As the name implies, [pb_glossary id=\"4109\"]contrasting verse-chorus form[\/pb_glossary] features musical material in the verses that differs from the music in the chorus, as exemplified in Example 37\u20113. [pb_glossary id=\"4108\"]Simple verse-chorus form[\/pb_glossary] uses the same harmonic material in both verse and chorus; the only difference between sections is lyrical content, as exemplified in Example 37\u20114.[footnote]Examples 37-3 and 37-4 are discussed at length by Trevor DeClercq in \u201cEmbracing Ambiguity in the Analysis of Form in Pop\/Rock Music, 1982\u20131991,\u201d <em>Music Theory Online <\/em>23, no. 3 (2017), <a class=\"rId195\" href=\"http:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">http:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html<\/span><\/a>).[\/footnote]<\/p>\r\n\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 37\u20113. Mariah Carey, \u201cI Don\u2019t Wanna Cry\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1hFtJ5rV3aAm58ErijHdFO?si=04630dd177ec45f7\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer, composer, and producer <strong>Mariah Carey<\/strong> (b. 1970) by reading this <a class=\"rId188\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2240353\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jonas Westover.\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\">Example 37\u20114. Prince, \u201cWhen Doves Cry\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/51H2y6YrNNXcy3dfc3qSbA?si=1cc5496c4b044bbc\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American songwriter, musician, and producer <strong>Prince (Rogers Nelson)<\/strong> (1958\u20132016) by reading this <a class=\"rId189\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000353394\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Griffin Woodworth.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"form-designs-in-pop-&amp;-rock\">\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T68 Form in pop, part 2: Verse-chorus forms (12:57)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/fzsjC6xiwp0\r\n<p class=\"import-Normal\">This video teaches you about the two types of verse-chorus forms: contrasting verse-chorus form and simple verse-chorus form. We use two musical examples from Trevor DeClercq's excellent 2017 <a class=\"rId183\" href=\"https:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html\"><em class=\"import-Hyperlink\">Music Theory Online<\/em><span class=\"import-Hyperlink\"> article<\/span><\/a>: Mariah Carey\u2019s \u201cI Don\u2019t Wanna Cry\u201d (Example 37-3) and Prince\u2019s \u201cWhen Doves Cry\u201d (Example 37-4).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h2>Compound forms<\/h2>\r\n<p class=\"import-Normal\">As we already learned in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/ternary-form\/\" target=\"_blank\" rel=\"noopener\">Chapter 35<\/a>, compound form designs contain large sections that have their own internal formal designs. While we learned about the concept as it relates to [pb_glossary id=\"4044\"]compound ternary form[\/pb_glossary], any form (regardless of its number of large sections) may be designated as compound as long as its large sections have identifiable internal forms. Learn more about compound forms in popular music by reading Covach (2005, 74\u201376).<\/p>\r\n\r\n<h2>Terminally climactic forms<\/h2>\r\n<p class=\"import-Normal\">Brad Osborn coined the phrase [pb_glossary id=\"4112\"]terminally climactic forms[\/pb_glossary] to describe designs that \u201care characterized by their balance between the <em>expected <\/em>memorable highpoint (the chorus) and the thematically independent terminal climax, the song\u2019s actual high point, which appears only once at the end of the song\u201d (2013, 23). Example 37\u20115 and its accompanying form diagram in Figure 37\u20112 show one example of a terminally climactic form in a recording by Radiohead, and Example 37-6 and Figure 37-3 show another in a recording by Phoebe Bridgers.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 37\u20115. Radiohead, \u201cKarma Police\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/3SVAN3BRByDmHOhKyIDxfC?si=2394d875b79c43e8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId190\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christopher Doll.\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 37\u20112. Form design for Example 37\u20115<\/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\">Section<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <span style=\"text-decoration: underline\">Number of bars<\/span>\r\n\r\n0:00\u00a0\u00a0\u00a0\u00a0 Intro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16\r\n\r\n0:26\u00a0\u00a0\u00a0\u00a0 Verse 1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16\r\n\r\n0:52\u00a0\u00a0\u00a0\u00a0 Verse 2\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16\r\n\r\n1:17\u00a0\u00a0\u00a0\u00a0 Chorus\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16\r\n\r\n1:42\u00a0\u00a0\u00a0\u00a0 Verse 3\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16\r\n\r\n2:08\u00a0\u00a0\u00a0\u00a0 Chorus\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16\r\n\r\n2:34\u00a0\u00a0\u00a0\u00a0 CLIMACTIC GROUP\u00a0\u00a0\u00a0\u00a0 64\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\">Example 37\u20116. Phoebe Bridgers, \u201cI Know the End\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0pJW1Xw3aY4Eh6k5iuBkfI?si=2a6c3f43d32a4f5e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer-songwriter <strong>Phoebe Bridgers<\/strong> by reading this <a class=\"rId190\" href=\"https:\/\/www.last.fm\/music\/Phoebe+Bridgers\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">last.fm article<\/span><\/a>.\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 37\u20113. Form design for Example 37\u20116<\/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\">Section<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <span style=\"text-decoration: underline\">Number of bars<\/span>\r\n\r\n0:00\u00a0\u00a0\u00a0\u00a0 Intro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4\r\n\r\n0:14\u00a0\u00a0\u00a0\u00a0 Verse 1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 9\r\n\r\n0:43\u00a0\u00a0\u00a0\u00a0 Chorus\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 8\r\n\r\n1:09\u00a0\u00a0\u00a0\u00a0 Verse 2\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 9\r\n\r\n1:38\u00a0\u00a0\u00a0\u00a0 Chorus\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 12\r\n\r\n2:15\u00a0\u00a0\u00a0\u00a0 CLIMACTIC GROUP\u00a0 \u00a0 \u00a089\r\n\r\n5:26\u00a0\u00a0\u00a0\u00a0 Outro\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 9\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T69 Form in pop, part 3: Terminally climactic forms (7:39)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/nJwJRuQt9uY\r\n<p class=\"import-Normal\">This video concludes our three-part series learning about form designs in pop and rock music. It introduces Brad Osborn's concept of \"terminally climactic form\" (2013) and explores its use in Radiohead's \"Karma Police\" (Example 37-5).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this chapter (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/536vAdHrQVdzomTiqdWN8O?si=aa4ac6f7de4249aa\" target=\"_blank\" rel=\"noopener\">Spotify playlist for form in pop<\/a><\/div>\r\n<div class=\"textbox shaded\">Access a slideshow with the examples from this chapter here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1gntt0Z-iaTXbrrwLNGqICTnYdSux3Qk8XIVd2lokYrk\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Form in pop and rock slides<\/a><\/div>\r\n<h1><a id=\"Additional terminology\"><\/a>Additional terminology<\/h1>\r\n<p class=\"import-Normal\"><span>The following list provides definitions of key terms related to form in popular genres.<\/span><\/p>\r\n<p class=\"import-Normal\">[pb_glossary id=\"4115\"]Chorus[\/pb_glossary]: Section \u201cin which the lyrics remain constant each time it sounds\u201d (Covach 2005, 67), or \u201cthe section of the song that resolves any lyrical and\/or musical tension established in previous sections\u201d (Endrinal 2011).<\/p>\r\n<p class=\"import-Normal\">[pb_glossary id=\"4116\"]Verse[\/pb_glossary]: Section that features different lyrics in each iteration, but with the same melody and harmonic content.<\/p>\r\n<p class=\"import-Normal\">[pb_glossary id=\"3780\"]Bridge[\/pb_glossary]: Section of contrasting material; the B section in the AABA form design or a contrasting \u201cmiddle passage of a verse-chorus form\u201d (de Clercq 2017, par.1.7); also referred to as the \u201cmiddle eight.\u201d<\/p>\r\n<p class=\"import-Normal\">[pb_glossary id=\"4117\"]Hook[\/pb_glossary]: \u201cThe main theme or motive around which the song is based. The hook often is presented in the introduction, although this material frequently is featured in the chorus. A song may have multiple hooks, which may be of musical character or lyrical content, or both\u201d (Endrinal 2011).<\/p>\r\n<p class=\"import-Normal\">[pb_glossary id=\"4118\"]Refrain[\/pb_glossary]: \u201cA line or pair of lines that recur throughout the song. The refrain usually appears at the end of a verse or a transition. Most often, the song\u2019s title, or some variation thereof, serves as the text of the refrain\u201d (Endrinal 2011); \u201ca short passage that serves as the melodic and lyrical \u2018hook\u2019 of the verse\u201d (Nobile 2020, 59). When placed at the end of a verse, refrains are called [pb_glossary id=\"4101\"]tail refrains[\/pb_glossary] (more common), and when placed at the beginning of a verse, they are called [pb_glossary id=\"4119\"]head refrains[\/pb_glossary] (less common).<\/p>\r\n<p class=\"import-Normal\">[pb_glossary id=\"4120\"]Pre-chorus[\/pb_glossary]: <span>An additional section between the verse and the chorus, usually brief, containing the same lyrics in each iteration; its typical formal function is to set up the appearance of the chorus.<\/span> Some scholars consider the pre-chorus section to be subsumed within the verse section, appearing at the end of the verse.<\/p>\r\n\r\n<h1><a id=\"EXERCISE 37-1 Aural analysis with form in pop\"><\/a>EXERCISE 37-1 Aural analysis with form in pop<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 37-1 Aural analysis with form in pop<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Listen to the following audio tracks and choose one to analyze for formal content:<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 37\u20111. Ray LaMontagne, \u201cI Still Care For You\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to the track on <a href=\"https:\/\/open.spotify.com\/track\/4kQF23eYkc18zXyvyqSFjz?si=31a66962a9564211\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer-songwriter <strong>Ray LaMontagne<\/strong> (b. 1973) by reading his <a class=\"rId191\" href=\"https:\/\/www.allmusic.com\/artist\/ray-lamontagne-mn0000182302\/biography\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> on allmusic.com, written by Steve Leggett.\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\">Worksheet example 37\u20112. Sufjan Stevens, \u201cMystery of Love\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to the track on <a href=\"https:\/\/open.spotify.com\/track\/0oTtnnedK0C4unALxVTPhz?si=0656494bb5544eb6\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer-songwriter <strong>Sufjan Stevens <\/strong>(b. 1975) by reading this <a class=\"rId192\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289485\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Ryan R. McNutt.\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\">Worksheet example 37\u20113. Michael Jackson, \u201cBillie Jean\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to the track on <a href=\"https:\/\/open.spotify.com\/track\/5ChkMS8OtdzJeqyybCc9R5?si=a7e9bc39863143d8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer and songwriter <strong>Michael Jackson<\/strong> (1958\u20132009) by reading this <a class=\"rId193\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.47207\" 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\">After careful listening, write the name of the song and artist you chose and make a form diagram for the recording on a separate sheet of paper that shows the name of each large section (e.g., intro, verses, possible pre-choruses, choruses, interludes, possible bridge, and coda) and the corresponding track timings where each section begins.<\/p>\r\n\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\/Ex37.1-Aural-analysis-with-form-in-pop.pdf\" target=\"_blank\" rel=\"noopener\">Ex37.1 Aural analysis with form in pop<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a href=\"https:\/\/open.spotify.com\/playlist\/6R3s1zUEZOJfY1zrxiHqrF?si=0d1e3160429e4281\" target=\"_blank\" rel=\"noopener\">Spotify playlist for aural analysis (form in pop)<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\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\nAdams, Kyle. 2020. \u201cMusical Texture and Formal Instability in Post-Millennial Popular Music: Two Case Studies.\u201d <em>Integral<\/em> 33. <a class=\"rId194\" href=\"https:\/\/www.esm.rochester.edu\/integral\/33-2019\/adams\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">https:\/\/www.esm.rochester.edu\/integral\/33-2019\/adams\/<\/span><\/a>\r\n\r\nCovach, John. 2005. \u201cForm in Rock Music: A Primer.\u201d In <em>Engaging Music: Essays in Music Analysis<\/em>, edited by Deborah Stein<span style=\"font-size: 1rem\">, 65\u201376<\/span><span style=\"font-size: 1rem\">. New York: Oxford University Press.<\/span>\r\n\r\ndeClercq, Trevor. 2017. \u201cEmbracing Ambiguity in the Analysis of Form in Pop\/Rock Music, 1982\u20131991.\u201d <em>Music Theory Online <\/em>23, no. 3. <a class=\"rId195\" href=\"http:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">http:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html<\/span><\/a>\r\n\r\nDuinker, Ben. 2020. \u201cSong Form and the Mainstreaming of Hip-Hop Music.\u201d <em>Current Musicology <\/em>107 (Fall): 93\u2013135.\r\n\r\nEndrinal, Chrisopher. 2011. \u201cBurning Bridges: Defining the Interverse in the Music of U2.\u201d <em>Music Theory Online<\/em> 17, no. 3. <a class=\"rId196\" href=\"http:\/\/www.mtosmt.org\/issues\/mto.11.17.3\/mto.11.17.3.endrinal.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">http:\/\/www.mtosmt.org\/issues\/mto.11.17.3\/mto.11.17.3.endrinal.html<\/span><\/a>\r\n\r\nNobile, Drew. 2020. <em>Form as Harmony in Rock Music<\/em>. Oxford: Oxford University Press.\r\n\r\nNobile, Drew. 2022. \u201cTeleology in Verse\u2013Prechorus\u2013Chorus Form, 1965\u20132020.\u201d <em>Music Theory Online <\/em>28, no. 3. <a class=\"rId197\" href=\"https:\/\/mtosmt.org\/issues\/mto.22.28.3\/mto.22.28.3.nobile.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">https:\/\/mtosmt.org\/issues\/mto.22.28.3\/mto.22.28.3.nobile.html<\/span><\/a>\r\n\r\nOsborn, Brad. 2013. \u201cSubverting the Verse-Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music.\u201d <em>Music Theory Spectrum<\/em> 35, no. 1 (April): 23\u201347.\r\n\r\nTemperley, David. 2018. <em>The Musical Language of Rock<\/em>. New York: Oxford University Press. See chapter 8, pp. 150\u00ad\u201382.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 37<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/musictheory.pugetsound.edu\/mt21c\/FormInPopularMusic.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson's chapter on form in popular music<\/a>\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/intro-to-form-in-popular-music\/\" target=\"_blank\" rel=\"noopener\">Bryn Hughes and Megan Lavengood's chapter on form in popular music<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"form-designs-in-pop-&amp;-rock\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 37<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>Some of the most common ways of organizing form in popular music<\/li>\n<li>How to listen for form aurally in non-notated music<\/li>\n<li>Where to learn more about form in popular music<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Normative form designs in pop and rock music<\/h1>\n<p class=\"import-Normal\">Thinking very broadly about popular music (inclusive of pop, rock, jazz, indie, country, and other popular genres), we can identify a number of normative form designs. The list that follows is not exhaustive, but rather summarizes the most commonly used formal designs in popular music.<\/p>\n<h2>The twelve-bar blues<\/h2>\n<p class=\"import-Normal\">The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4095\">twelve-bar blues<\/a> is a form design based on harmonic progression, as shown in Figure 37\u20111. Example 37\u20111 features the twelve-bar blues in Big Mama Thornton\u2019s famous tune \u201cHound Dog.\u201d<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 37\u20111. The twelve-bar blues formal design<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image106-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image106-1.png\" width=\"801\" height=\"136\" alt=\"image that reads Roman numerals one, four in parentheses, one, one, four, four, one, one, five, four, one, five in parentheses. The first four Roman numerals are labelled &quot;Question.&quot; The middle four are labelled &quot;Question again.&quot; The last four Roman numerals are labelled &quot;Answer&quot;\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 37\u20111. Big Mama Thornton, \u201cHound Dog,&#8221; 0:05\u20130:31<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-818-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-37.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-37.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-37.1.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4GgmAsaolWaBPn4DofdCck?si=2465cdfa271141bf\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American blues singer and songwriter <strong>Big Mama (Willie Mae) Thornton<\/strong> (1926\u20131984) by reading this <a class=\"rId186\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289562\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maureen Mahon.<\/p>\n<\/div>\n<\/div>\n<div class=\"form-designs-in-pop-&amp;-rock\">\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T67 Form in pop, part 1: Overview and 12-bar blues (3:02)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T67 Form in Pop, part 1: Overview and 12-Bar Blues\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/gFJ5kCO-7wA?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video provides a brief overview of the most common form designs in pop and rock music, and it introduces twelve-bar blues, as shown in Big Mama Thornton&#8217;s &#8220;Hound Dog&#8221; (Example 37-1).<\/p>\n<\/div>\n<\/div>\n<h2>Strophic form<\/h2>\n<p class=\"import-Normal\">As we learned in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/strophic-form\/\" target=\"_blank\" rel=\"noopener\">Chapter 36<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4051\">strophic<\/a> forms consist of repeating sections (called <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4069\">strophes<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4116\">verses<\/a>, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4122\">stanzas<\/a>), each with different lyrics set to the same melody and harmonic content. Some strophic forms feature a recurring <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4101\">tail refrain<\/a> at the end of each strophe (verse), as in Example 37\u20112, which concludes each verse with the same lyrics: \u201cThe answer, my friend, is blowin\u2019 in the wind \/ the answer is blowin\u2019 in the wind.\u201d In the studio recording featured in Example 37-2, the tail refrains occur at 0:36\u20130:45, 1:28\u20131:38, and 2:21\u20132:31.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 37\u20112. Bob Dylan, \u201cBlowin\u2019 in the Wind,\u201d 0:36\u20130:45<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-818-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-37.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-37.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-37.2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/18GiV1BaXzPVYpp9rmOg0E?si=3758e6532e2e4b87\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American songwriter <strong>Bob Dylan<\/strong> (b. 1941) by reading this <a class=\"rId187\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2256398\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Kenneth Habib.<\/p>\n<\/div>\n<\/div>\n<h2>AABA form<\/h2>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4106\">AABA form<\/a> is typically in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_3779\">32-bar song form<\/a>, as we previously explored in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/binary-form\/\" target=\"_blank\" rel=\"noopener\">Chapter 34<\/a>. The A sections are verses, featuring the same melodic and harmonic content with different lyrics, and the B section is the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_3780\">bridge<\/a>, containing contrasting material. A standard form design in jazz music, AABA form is pop\u2019s version of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_3777\">rounded binary<\/a>. John Covach observes that the focus of AABA form is on the verse (2005, 71).<\/p>\n<h2>Verse-chorus form<\/h2>\n<p class=\"import-Normal\">Covach provides a detailed exploration of the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4107\">verse-chorus form<\/a>, a staple of popular music (2005, 71\u201374). These forms feature an alternation between verse and chorus sections, where the verses feature different lyrics set to the same melody and harmonic content, and the chorus sections feature the same lyrics, melody, and harmonic content in each statement. In contrast to AABA forms, the focus in verse-chorus form is on the chorus section (Covach 2005, 71).<\/p>\n<p class=\"import-Normal\">There are two types of verse-chorus form. As the name implies, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4109\">contrasting verse-chorus form<\/a> features musical material in the verses that differs from the music in the chorus, as exemplified in Example 37\u20113. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4108\">Simple verse-chorus form<\/a> uses the same harmonic material in both verse and chorus; the only difference between sections is lyrical content, as exemplified in Example 37\u20114.<a class=\"footnote\" title=\"Examples 37-3 and 37-4 are discussed at length by Trevor DeClercq in \u201cEmbracing Ambiguity in the Analysis of Form in Pop\/Rock Music, 1982\u20131991,\u201d Music Theory Online 23, no. 3 (2017), http:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html).\" id=\"return-footnote-818-1\" href=\"#footnote-818-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 37\u20113. Mariah Carey, \u201cI Don\u2019t Wanna Cry\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1hFtJ5rV3aAm58ErijHdFO?si=04630dd177ec45f7\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer, composer, and producer <strong>Mariah Carey<\/strong> (b. 1970) by reading this <a class=\"rId188\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2240353\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jonas Westover.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 37\u20114. Prince, \u201cWhen Doves Cry\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/51H2y6YrNNXcy3dfc3qSbA?si=1cc5496c4b044bbc\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American songwriter, musician, and producer <strong>Prince (Rogers Nelson)<\/strong> (1958\u20132016) by reading this <a class=\"rId189\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000353394\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Griffin Woodworth.<\/p>\n<\/div>\n<\/div>\n<div class=\"form-designs-in-pop-&amp;-rock\">\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T68 Form in pop, part 2: Verse-chorus forms (12:57)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T68 Form in Pop, part 2: Verse-Chorus Forms\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/fzsjC6xiwp0?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video teaches you about the two types of verse-chorus forms: contrasting verse-chorus form and simple verse-chorus form. We use two musical examples from Trevor DeClercq&#8217;s excellent 2017 <a class=\"rId183\" href=\"https:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html\"><em class=\"import-Hyperlink\">Music Theory Online<\/em><span class=\"import-Hyperlink\"> article<\/span><\/a>: Mariah Carey\u2019s \u201cI Don\u2019t Wanna Cry\u201d (Example 37-3) and Prince\u2019s \u201cWhen Doves Cry\u201d (Example 37-4).<\/p>\n<\/div>\n<\/div>\n<h2>Compound forms<\/h2>\n<p class=\"import-Normal\">As we already learned in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/ternary-form\/\" target=\"_blank\" rel=\"noopener\">Chapter 35<\/a>, compound form designs contain large sections that have their own internal formal designs. While we learned about the concept as it relates to <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4044\">compound ternary form<\/a>, any form (regardless of its number of large sections) may be designated as compound as long as its large sections have identifiable internal forms. Learn more about compound forms in popular music by reading Covach (2005, 74\u201376).<\/p>\n<h2>Terminally climactic forms<\/h2>\n<p class=\"import-Normal\">Brad Osborn coined the phrase <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4112\">terminally climactic forms<\/a> to describe designs that \u201care characterized by their balance between the <em>expected <\/em>memorable highpoint (the chorus) and the thematically independent terminal climax, the song\u2019s actual high point, which appears only once at the end of the song\u201d (2013, 23). Example 37\u20115 and its accompanying form diagram in Figure 37\u20112 show one example of a terminally climactic form in a recording by Radiohead, and Example 37-6 and Figure 37-3 show another in a recording by Phoebe Bridgers.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 37\u20115. Radiohead, \u201cKarma Police\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/3SVAN3BRByDmHOhKyIDxfC?si=2394d875b79c43e8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId190\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christopher Doll.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 37\u20112. Form design for Example 37\u20115<\/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\">Section<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <span style=\"text-decoration: underline\">Number of bars<\/span><\/p>\n<p>0:00\u00a0\u00a0\u00a0\u00a0 Intro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16<\/p>\n<p>0:26\u00a0\u00a0\u00a0\u00a0 Verse 1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16<\/p>\n<p>0:52\u00a0\u00a0\u00a0\u00a0 Verse 2\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16<\/p>\n<p>1:17\u00a0\u00a0\u00a0\u00a0 Chorus\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16<\/p>\n<p>1:42\u00a0\u00a0\u00a0\u00a0 Verse 3\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16<\/p>\n<p>2:08\u00a0\u00a0\u00a0\u00a0 Chorus\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 16<\/p>\n<p>2:34\u00a0\u00a0\u00a0\u00a0 CLIMACTIC GROUP\u00a0\u00a0\u00a0\u00a0 64<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 37\u20116. Phoebe Bridgers, \u201cI Know the End\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0pJW1Xw3aY4Eh6k5iuBkfI?si=2a6c3f43d32a4f5e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer-songwriter <strong>Phoebe Bridgers<\/strong> by reading this <a class=\"rId190\" href=\"https:\/\/www.last.fm\/music\/Phoebe+Bridgers\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">last.fm article<\/span><\/a>.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 37\u20113. Form design for Example 37\u20116<\/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\">Section<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <span style=\"text-decoration: underline\">Number of bars<\/span><\/p>\n<p>0:00\u00a0\u00a0\u00a0\u00a0 Intro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4<\/p>\n<p>0:14\u00a0\u00a0\u00a0\u00a0 Verse 1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 9<\/p>\n<p>0:43\u00a0\u00a0\u00a0\u00a0 Chorus\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 8<\/p>\n<p>1:09\u00a0\u00a0\u00a0\u00a0 Verse 2\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 9<\/p>\n<p>1:38\u00a0\u00a0\u00a0\u00a0 Chorus\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 12<\/p>\n<p>2:15\u00a0\u00a0\u00a0\u00a0 CLIMACTIC GROUP\u00a0 \u00a0 \u00a089<\/p>\n<p>5:26\u00a0\u00a0\u00a0\u00a0 Outro\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 9<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T69 Form in pop, part 3: Terminally climactic forms (7:39)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T69 Form in Pop, part 3: Terminally Climactic Forms\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/nJwJRuQt9uY?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video concludes our three-part series learning about form designs in pop and rock music. It introduces Brad Osborn&#8217;s concept of &#8220;terminally climactic form&#8221; (2013) and explores its use in Radiohead&#8217;s &#8220;Karma Police&#8221; (Example 37-5).<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this chapter (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/536vAdHrQVdzomTiqdWN8O?si=aa4ac6f7de4249aa\" target=\"_blank\" rel=\"noopener\">Spotify playlist for form in pop<\/a><\/div>\n<div class=\"textbox shaded\">Access a slideshow with the examples from this chapter here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1gntt0Z-iaTXbrrwLNGqICTnYdSux3Qk8XIVd2lokYrk\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Form in pop and rock slides<\/a><\/div>\n<h1><a><\/a>Additional terminology<\/h1>\n<p class=\"import-Normal\"><span>The following list provides definitions of key terms related to form in popular genres.<\/span><\/p>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4115\">Chorus<\/a>: Section \u201cin which the lyrics remain constant each time it sounds\u201d (Covach 2005, 67), or \u201cthe section of the song that resolves any lyrical and\/or musical tension established in previous sections\u201d (Endrinal 2011).<\/p>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4116\">Verse<\/a>: Section that features different lyrics in each iteration, but with the same melody and harmonic content.<\/p>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_3780\">Bridge<\/a>: Section of contrasting material; the B section in the AABA form design or a contrasting \u201cmiddle passage of a verse-chorus form\u201d (de Clercq 2017, par.1.7); also referred to as the \u201cmiddle eight.\u201d<\/p>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4117\">Hook<\/a>: \u201cThe main theme or motive around which the song is based. The hook often is presented in the introduction, although this material frequently is featured in the chorus. A song may have multiple hooks, which may be of musical character or lyrical content, or both\u201d (Endrinal 2011).<\/p>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4118\">Refrain<\/a>: \u201cA line or pair of lines that recur throughout the song. The refrain usually appears at the end of a verse or a transition. Most often, the song\u2019s title, or some variation thereof, serves as the text of the refrain\u201d (Endrinal 2011); \u201ca short passage that serves as the melodic and lyrical \u2018hook\u2019 of the verse\u201d (Nobile 2020, 59). When placed at the end of a verse, refrains are called <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4101\">tail refrains<\/a> (more common), and when placed at the beginning of a verse, they are called <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4119\">head refrains<\/a> (less common).<\/p>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_818_4120\">Pre-chorus<\/a>: <span>An additional section between the verse and the chorus, usually brief, containing the same lyrics in each iteration; its typical formal function is to set up the appearance of the chorus.<\/span> Some scholars consider the pre-chorus section to be subsumed within the verse section, appearing at the end of the verse.<\/p>\n<h1><a><\/a>EXERCISE 37-1 Aural analysis with form in pop<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 37-1 Aural analysis with form in pop<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Listen to the following audio tracks and choose one to analyze for formal content:<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 37\u20111. Ray LaMontagne, \u201cI Still Care For You\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to the track on <a href=\"https:\/\/open.spotify.com\/track\/4kQF23eYkc18zXyvyqSFjz?si=31a66962a9564211\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer-songwriter <strong>Ray LaMontagne<\/strong> (b. 1973) by reading his <a class=\"rId191\" href=\"https:\/\/www.allmusic.com\/artist\/ray-lamontagne-mn0000182302\/biography\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> on allmusic.com, written by Steve Leggett.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 37\u20112. Sufjan Stevens, \u201cMystery of Love\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to the track on <a href=\"https:\/\/open.spotify.com\/track\/0oTtnnedK0C4unALxVTPhz?si=0656494bb5544eb6\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer-songwriter <strong>Sufjan Stevens <\/strong>(b. 1975) by reading this <a class=\"rId192\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289485\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Ryan R. McNutt.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 37\u20113. Michael Jackson, \u201cBillie Jean\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to the track on <a href=\"https:\/\/open.spotify.com\/track\/5ChkMS8OtdzJeqyybCc9R5?si=a7e9bc39863143d8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer and songwriter <strong>Michael Jackson<\/strong> (1958\u20132009) by reading this <a class=\"rId193\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.47207\" 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\">After careful listening, write the name of the song and artist you chose and make a form diagram for the recording on a separate sheet of paper that shows the name of each large section (e.g., intro, verses, possible pre-choruses, choruses, interludes, possible bridge, and coda) and the corresponding track timings where each section begins.<\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex37.1-Aural-analysis-with-form-in-pop.pdf\" target=\"_blank\" rel=\"noopener\">Ex37.1 Aural analysis with form in pop<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a href=\"https:\/\/open.spotify.com\/playlist\/6R3s1zUEZOJfY1zrxiHqrF?si=0d1e3160429e4281\" target=\"_blank\" rel=\"noopener\">Spotify playlist for aural analysis (form in pop)<\/a><\/div>\n<\/div>\n<\/div>\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>Adams, Kyle. 2020. \u201cMusical Texture and Formal Instability in Post-Millennial Popular Music: Two Case Studies.\u201d <em>Integral<\/em> 33. <a class=\"rId194\" href=\"https:\/\/www.esm.rochester.edu\/integral\/33-2019\/adams\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">https:\/\/www.esm.rochester.edu\/integral\/33-2019\/adams\/<\/span><\/a><\/p>\n<p>Covach, John. 2005. \u201cForm in Rock Music: A Primer.\u201d In <em>Engaging Music: Essays in Music Analysis<\/em>, edited by Deborah Stein<span style=\"font-size: 1rem\">, 65\u201376<\/span><span style=\"font-size: 1rem\">. New York: Oxford University Press.<\/span><\/p>\n<p>deClercq, Trevor. 2017. \u201cEmbracing Ambiguity in the Analysis of Form in Pop\/Rock Music, 1982\u20131991.\u201d <em>Music Theory Online <\/em>23, no. 3. <a class=\"rId195\" href=\"http:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">http:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html<\/span><\/a><\/p>\n<p>Duinker, Ben. 2020. \u201cSong Form and the Mainstreaming of Hip-Hop Music.\u201d <em>Current Musicology <\/em>107 (Fall): 93\u2013135.<\/p>\n<p>Endrinal, Chrisopher. 2011. \u201cBurning Bridges: Defining the Interverse in the Music of U2.\u201d <em>Music Theory Online<\/em> 17, no. 3. <a class=\"rId196\" href=\"http:\/\/www.mtosmt.org\/issues\/mto.11.17.3\/mto.11.17.3.endrinal.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">http:\/\/www.mtosmt.org\/issues\/mto.11.17.3\/mto.11.17.3.endrinal.html<\/span><\/a><\/p>\n<p>Nobile, Drew. 2020. <em>Form as Harmony in Rock Music<\/em>. Oxford: Oxford University Press.<\/p>\n<p>Nobile, Drew. 2022. \u201cTeleology in Verse\u2013Prechorus\u2013Chorus Form, 1965\u20132020.\u201d <em>Music Theory Online <\/em>28, no. 3. <a class=\"rId197\" href=\"https:\/\/mtosmt.org\/issues\/mto.22.28.3\/mto.22.28.3.nobile.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">https:\/\/mtosmt.org\/issues\/mto.22.28.3\/mto.22.28.3.nobile.html<\/span><\/a><\/p>\n<p>Osborn, Brad. 2013. \u201cSubverting the Verse-Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music.\u201d <em>Music Theory Spectrum<\/em> 35, no. 1 (April): 23\u201347.<\/p>\n<p>Temperley, David. 2018. <em>The Musical Language of Rock<\/em>. New York: Oxford University Press. See chapter 8, pp. 150\u00ad\u201382.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 37<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/musictheory.pugetsound.edu\/mt21c\/FormInPopularMusic.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson&#8217;s chapter on form in popular music<\/a><\/p>\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/intro-to-form-in-popular-music\/\" target=\"_blank\" rel=\"noopener\">Bryn Hughes and Megan Lavengood&#8217;s chapter on form in popular music<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-818-1\">Examples 37-3 and 37-4 are discussed at length by Trevor DeClercq in \u201cEmbracing Ambiguity in the Analysis of Form in Pop\/Rock Music, 1982\u20131991,\u201d <em>Music Theory Online <\/em>23, no. 3 (2017), <a class=\"rId195\" href=\"http:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">http:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.de_clercq.html<\/span><\/a>). <a href=\"#return-footnote-818-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_818_4095\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4095\"><div tabindex=\"-1\"><p>a form design based on a repeating progression, I (IV) I I IV IV I I V IV I (V), where each Roman numeral is one bar long<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4051\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_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_818_4069\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_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_818_4116\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4116\"><div tabindex=\"-1\"><p>in form, the sections that feature different lyrics in each iteration, but with 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_818_4122\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4122\"><div tabindex=\"-1\"><p>synonym for strophe; refers to a formal section that recurs with the same melody and harmonic material, but with different lyrics in each iteration<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4101\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4101\"><div tabindex=\"-1\"><p>optional device used in some strophic forms in which each verse concludes with the same lyrics<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4106\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4106\"><div tabindex=\"-1\"><p>form design in which A sections are verses, featuring the same melodic and harmonic content with different lyrics, and the B section is a bridge, containing contrasting material<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_3779\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_3779\"><div tabindex=\"-1\"><p>type of rounded binary form with an internal structure of 8 bars (A), 8 bars (A'), 8 bars (B, or bridge), 8 bars (A'')<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_3780\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_3780\"><div tabindex=\"-1\"><p>in form design, term denoting a contrasting section; used when discussing 32-bar song form and forms in popular music<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_3777\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_3777\"><div tabindex=\"-1\"><p>term describing pieces in binary form in which a portion of the A section returns at the end of the B section<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4107\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4107\"><div tabindex=\"-1\"><p>form design that alternates between verse and chorus sections, where the verses feature different lyrics set to the same melody and harmonic content, and the chorus sections feature the same lyrics, melody, and harmonic content in each statement<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4109\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4109\"><div tabindex=\"-1\"><p>type of verse-chorus form featuring musical material in the verses that differs from the music in the chorus<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4108\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4108\"><div tabindex=\"-1\"><p>type of verse-chorus form that uses the same harmonic material in both verse and chorus; the only difference between sections is lyrical 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_818_4044\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4044\"><div tabindex=\"-1\"><p>form of pieces in three large sections, each of which has its own internal organization (usually a binary or ternary form)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4112\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4112\"><div tabindex=\"-1\"><p>form design in popular music that features an \"expected memorable highpoint (the chorus)\" balanced with a \"thematically independent terminal climax, the song\u2019s actual high point, which appears only once at the end of the song\u201d (Osborn 2013, 23)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4115\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4115\"><div tabindex=\"-1\"><p>in popular music, the section \u201cin which the lyrics remain constant each time it sounds\u201d (Covach 2005, 67) or \u201cthe section of the song that resolves any lyrical and\/or musical tension established in previous sections\u201d (Endrinal 2011)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4117\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4117\"><div tabindex=\"-1\"><p>term related to form in popular music, referring to \u201cthe main theme or motive around which the song is based. The hook often is presented in the introduction, although this material frequently is featured in the chorus. A song may have multiple hooks, which may be of musical character or lyrical content, or both\u201d (Endrinal 2011)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4118\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4118\"><div tabindex=\"-1\"><p>\"a line or pair of lines that recur throughout the song\" (Endrinal 2011)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4119\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4119\"><div tabindex=\"-1\"><p>recurring line that appears at the beginning of each verse<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_818_4120\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_818_4120\"><div tabindex=\"-1\"><p>in popular music, an additional section between the verse and chorus, usually brief, containing the same lyrics in each iteration, with a typical formal function to set up the appearance of the chorus<\/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":37,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-818","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/818","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":48,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/818\/revisions"}],"predecessor-version":[{"id":7132,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/818\/revisions\/7132"}],"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\/818\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=818"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=818"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=818"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=818"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}