Musical form

In music, musical form in its generic sense designates both a musical structure and a writing tradition that allows the musical work to be placed in the history of the evolution of musical creation. Added to a title of a work, the different musical forms such as symphony, concerto, prelude, fantasy, etc., then designate both a structure that has been built over time, and a particular musical genre, a musical composition that has evolved over centuries: opera, dance, etc.

In both cases, the concept of form alludes to belonging to a category of work that has one or more more or less strict criteria typical of a structure ―number of movements, general structure, proportions, etc.― that throughout the history have become prototypes, which has not prevented them from continuing to evolve and sometimes forgetting the molds of the beginning, since the composers work, in addition to the themes, the rhythm, the melody and the harmony.

There is also talk of formalism when a certain composition technique or a category of work is used that respects a certain number of uses, theoretical or historically induced.

But if the content of music is ineffable, immanent, its inscription in the temporal fabric of our present imprints on it both a structure and a form, which operate in us transformations uncontrollable by consciousness. The organization of music is not of an intellectual order unless it is considered as a conscious structuring that theory could paralyze.