Through-composed music

In the theory of musical form, through-composed music is a continuous, non-sectional, and non-repetitive piece of music. The term is typically used to describe songs, but can also apply to instrumental music.^[1]

While most musical forms such as ternary form (ABA), rondo form (ABACABA), and sonata 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 strophic form (AAA). Through-composed songs have different music for each stanza of the lyrics. The German word durchkomponiert is also used to indicate this concept.^[2]

Examples

Musicologist James Webster defines through-composed music in the following manner:

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 settings.)^[3]

Many examples of this form can be found in

• "2 + 2 = 5" by Radiohead shifts through four main sections, none of which repeat.^[5] Starting with the first part (in ⁷
  ₈),^[6] each section gets progressively louder until the climax of the song's final portion.
• Many Genesis songs, including "The Musical Box" and "Supper's Ready", are through-composed.
• signature song), "Guyute", "Divided Sky", "Reba", and "Foam".^[7]
• "In Dreams" by Roy Orbison features seven distinct sections, none of which repeat.
• "Happiness Is a Warm Gun" and "You Never Give Me Your Money" by The Beatles.
• "Rudy" by Supertramp from the album "Crime of the Century".
• "Bohemian Rhapsody" by Queen.

References