In music, the elements of form and organization are those we have already discussed: rhythm, dynamics, tone color, melody, harmony, and texture. A musical work, whether a simple song or a whole symphony, is formed or organized by means of repetitions of some of these elements, and by contrasts among them. The repetitions may be strict or free (that is, exact or with some variation). The contrasts may be of many different kinds — the possibilities are virtually limitless — conveying many different kinds of feeling.

Over the centuries and all over the world, musicians have learned to create long and impressive pieces in this way: symphonies, operas, works for the Javanese gamelan or Japanese gagaku orchestras, and more. Each piece is a specific sound experience in a definite time span, with a beginning, middle, and end, and often with subtle routes between. Everyone knows that music can make a nice effect for a minute or two. But how does music extend itself — and hold the listener’s interest — for ten minutes, or half an hour, or three whole hours at a time?

This is one of the main functions of musical form. Form is the relationship that connects those beginnings, middles, and ends.