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Through-composed music

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827: 123:", in which the setting proceeds to a different musical arrangement for each new stanza and whenever the piece comes to each character, the character portrays its own voice register and tonality. Another example within instrumental music is 106:
In general usage, a 'through-composed' work is one based on run-on movements without internal repetitions. (The distinction is especially characteristic of the literature of the art-song, where such works are contrasted with strophic
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form (ABA') rely on repetition, through-composed music does not re-use material (ABCD). This constant introduction of new material is most noticeable in musical settings of poems, in contrast to the often used
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Haydn's 'Farewell' Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music
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to indicate a work that consists of an uninterrupted stream of music from beginning to end, as in the operas of
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piece of music. The term is typically used to describe songs, but can also apply to instrumental music.
545: 172: 167:. Examples of the modern trend towards through-composed works in musical theater include the works of 606: 177: 175:. In musical theater, works with clear delineations between songs yet no spoken dialogue – such as 199:
While through-composed form is very uncommon in popular music, several notable examples do exist:
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shifts through four main sections, none of which repeat. Starting with the first part (in
119:, in which the words of a poem are set to music, and each line is different. In his lied " 8: 796: 661: 641: 565: 168: 806: 736: 651: 621: 226:), each section gets progressively louder until the climax of the song's final portion. 204: 183: 47: 826: 811: 771: 586: 438: 428: 404: 371: 330: 300: 238: 128: 696: 581: 363: 252: 152: 791: 761: 156: 144: 83: 43: 776: 716: 711: 656: 601: 530: 256: 244: 230: 840: 781: 691: 626: 151:. This stands in contrast to the practice, as for example occurs in Mozart's 67: 442: 786: 681: 666: 646: 616: 611: 561: 304: 188: 54: 35: 31: 766: 726: 631: 596: 282: 267: 62: 721: 289: 160: 676: 576: 208: 422: 706: 701: 591: 164: 112: 756: 741: 686: 148: 116: 79: 75: 751: 248: 140: 124: 58: 27:
Relatively continuous, non-sectional, or non-repetitive music
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defines through-composed music in the following manner:
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features seven distinct sections, none of which repeat.
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operas, of having a collection of songs interrupted by
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Thomson/Schirmer. 294:Crime of the Century 797:Thirty-two-bar form 662:Formula composition 356:Oxford Music Online 169:Andrew Lloyd Webber 489:. 10 November 2003 352:"Through-composed" 233:songs, including " 135:Opera and musicals 834: 833: 817:Verse–chorus form 772:Sonata rondo form 607:Call and response 587:Ausmultiplikation 409:978-0-521-61201-2 377:978-1-56159-263-0 301:Bohemian Rhapsody 129:Farewell Symphony 16:(Redirected from 854: 829: 802:Through-composed 555: 548: 541: 532: 531: 525: 524: 522: 520: 505: 499: 498: 496: 494: 479: 473: 472: 470: 468: 453: 447: 446: 418: 412: 397: 388: 387: 386: 384: 347: 341: 340: 322: 292:from the album " 253:You Enjoy Myself 225: 224: 223: 222: 195:In popular music 21: 18:Through-composed 862: 861: 857: 856: 855: 853: 852: 851: 837: 836: 835: 830: 821: 568: 559: 529: 528: 518: 516: 506: 502: 492: 490: 481: 480: 476: 466: 464: 454: 450: 435: 419: 415: 398: 391: 382: 380: 378: 348: 344: 337: 323: 319: 314: 235:The Musical Box 221: 216: 215: 214: 213: 212: 197: 157:German-language 145:musical theater 137: 96: 88:durchkomponiert 61:(ABACABA), and 28: 23: 22: 15: 12: 11: 5: 860: 850: 849: 832: 831: 824: 822: 820: 819: 814: 809: 804: 799: 794: 789: 784: 779: 777:Song structure 774: 769: 764: 759: 754: 749: 744: 739: 734: 732:Recapitulation 729: 724: 719: 714: 709: 704: 699: 694: 689: 684: 679: 674: 669: 664: 659: 654: 649: 644: 639: 634: 629: 624: 619: 614: 609: 604: 599: 594: 589: 584: 579: 573: 570: 569: 558: 557: 550: 543: 535: 527: 526: 500: 474: 448: 433: 413: 389: 376: 342: 335: 316: 315: 313: 310: 309: 308: 297: 286: 271: 260: 257:signature song 255:" (the band's 245:Trey Anastasio 242: 239:Supper's Ready 227: 217: 196: 193: 178:Les MisĂ©rables 136: 133: 95: 92: 26: 9: 6: 4: 3: 2: 859: 848: 845: 844: 842: 828: 818: 815: 813: 810: 808: 805: 803: 800: 798: 795: 793: 790: 788: 785: 783: 782:Strophic form 780: 778: 775: 773: 770: 768: 765: 763: 760: 758: 755: 753: 750: 748: 745: 743: 740: 738: 735: 733: 730: 728: 725: 723: 720: 718: 715: 713: 710: 708: 705: 703: 700: 698: 695: 693: 690: 688: 685: 683: 680: 678: 675: 673: 670: 668: 665: 663: 660: 658: 655: 653: 650: 648: 645: 643: 640: 638: 635: 633: 630: 628: 625: 623: 620: 618: 615: 613: 610: 608: 605: 603: 600: 598: 595: 593: 590: 588: 585: 583: 580: 578: 575: 574: 571: 567: 563: 556: 551: 549: 544: 542: 537: 536: 533: 515: 511: 504: 488: 484: 478: 463: 459: 452: 444: 440: 436: 434:0-534-61962-2 430: 426: 425: 417: 410: 406: 402: 396: 394: 379: 373: 369: 365: 361: 357: 353: 346: 338: 336:0-674-00084-6 332: 328: 321: 317: 306: 302: 298: 295: 291: 287: 284: 280: 276: 272: 269: 265: 261: 258: 254: 250: 246: 243: 240: 236: 232: 228: 220: 210: 206: 202: 201: 200: 192: 190: 186: 185: 180: 179: 174: 170: 166: 162: 158: 154: 150: 146: 142: 132: 130: 126: 122: 118: 114: 108: 103: 101: 100:James Webster 98:Musicologist 91: 89: 85: 81: 77: 73: 69: 68:strophic form 64: 60: 56: 51: 49: 45: 41: 37: 33: 19: 847:Musical form 801: 787:Ternary form 672:Introduction 562:Musical form 517:. Retrieved 513: 503: 491:. Retrieved 486: 477: 465:. Retrieved 461: 451: 423: 416: 400: 383:10 September 381:, retrieved 355: 345: 326: 320: 218: 198: 189:through-sung 182: 176: 138: 110: 105: 97: 87: 55:ternary form 52: 39: 36:musical form 29: 767:Sonata form 727:Post-chorus 642:Development 632:Cyclic form 597:Binary form 566:development 519:13 February 493:13 February 467:13 February 283:The Beatles 268:Roy Orbison 807:Transition 737:Repetition 722:Pre-chorus 652:Exposition 622:Conclusion 487:Musicnotes 312:References 290:Supertramp 288:"Rudy" by 163:or spoken 161:recitative 107:settings.) 59:rondo form 48:repetitive 46:, and non- 812:Variation 677:Leitmotif 577:Arch form 264:In Dreams 209:Radiohead 205:2 + 2 = 5 44:sectional 841:Category 707:Overture 702:Ostinato 697:Movement 592:Bar form 582:Argument 443:61286312 184:Hamilton 165:dialogue 121:Erlkönig 113:Schubert 94:Examples 762:Section 742:Reprise 277:" and " 237:" and " 231:Genesis 153:Italian 78:of the 57:(ABA), 30:In the 717:Phrase 712:Period 687:Melody 657:Finale 602:Bridge 462:Guitar 441:  431:  407:  374:  333:  155:- and 149:Wagner 117:lieder 84:German 82:. 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Index

Through-composed
theory
musical form
sectional
repetitive
ternary form
rondo form
sonata
strophic form
songs
stanza
lyrics
German
James Webster
Schubert
lieder
Erlkönig
Haydn
Farewell Symphony
opera
musical theater
Wagner
Italian
German-language
recitative
dialogue
Andrew Lloyd Webber
Claude-Michel Schönberg
Les Misérables
Hamilton

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