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Scan 91
Harvard Dictionary Of Music, 1944
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1BARFORM
3is the "duplicated" bar: ||: a :||: b :|| c, which forms a connecting link with the *sequence (*leich), and the "superimposed" bar, in which the Stollen itself is a complete Bar [Ex. in F. L. Saran, †Die Jenaer Liederhandschrift (1902) ii, 53 and 57].
5II. Of particular importance is that type of Bar in which the Stollen is repeated in toto at the end of the Abgesang, thus leading to the scheme a a b a or ||: a :|| b a. A very early example of this form is the liturgical melody to a hymn, Ales diei nuntius, by Prudentius (d. c. 450), which probably is one of the oldest Christian melodies preserved [Ex. 2; cf. AR, 109; BeMMR, 52]. Minnesinger songs showing the same structure are quite numerous [cf. DTOe 37.i, p. 31; Saran ii, 29; HAM, no. 20c; ReMMA, 235]. The modern term for this is Reprisenbar or Rundkanzone (rounded chanson). Still another modification of a more recent date is the Reprisenbar with repetition of both sections: ||: a :||: b + a :||. This occurs in numerous pieces of the 18th century as a modification of binary form, appropriately designated as cyclic binary form [see *Binary and ternary form II]. It is this form which must be considered as the precursor of *sonata-form, the exposition, development, and recapitulation of which correspond to the Stollen, Abgesang, and repeated Stollen of the Reprisenbar. Although there is, of course, no historical relationship between the medieval Bar and the classical sonata, the similarity is noteworthy, all the more as the Abgesang of the early songs frequently shows certain elementary development features, such as higher range, *Fortspinnung, and greater intensity in general, as appears, e.g., in the "Palestine Song" and in Hans Sachs's "Morgenweise" [EiBM, no. 9]. It may be noted that in pieces such as the first movement of Bach's cantata mentioned above the Barform of the chorale ("Wachet auf") leads to a structure which is quite similar to that of sonata-form. See also *Binary and ternary form.
7A. Lorenz has tried to show (with questionable success) that the Barform is the leading principle of structure in R. Wagner's operas, the recitative of which he interpreted as "superimposed" Bars (Kleinbar, Mittelbar, Grossbar).
9Lit.: A. Lorenz, Das Geheimnis der Form bei R. Wagner, 4 vols. (1924–33); id., "Das Relativitätsprinzip in den musikalischen Formen" (Adler Festschrift, 1930); id., "Homophone Grossrhythmik in Bach's Polyphonik" (DM xxii.4); H. A. Grunsky, in ZMW xvi.
11Bariolage [F., variety of colors]. A special effect of violin playing, obtained by quickly shifting back and forth from open strings to stopped strings. This technique is used for broken-chord passages [Ex. 1, Bach, Solo Sonata in E major], or for a "coloristic" tremolo [Ex. 2, Brahms, Symphony no. 4, last movement].
13Baritone or (rarely) barytone [from Gr. barys, heavy, low]. (1) The male voice intermediate between the bass and the tenor; see *Voices, Range of. — (2) In connection with instruments (oboe, horn, saxophone) the word indicates sizes above the bass size. — (3) Short for baritone horn [see *Brass instruments III(c)].
15Baritone clef. See *Clefs.
17Baritone horn. See *Brass instruments III(c).
19Bar-line [Fr. barre; G. Taktstrich]. The vertical line used to indicate the beginning and the end of a measure. The consistent use of the bar-line is of relatively recent date. Original bar-lines appear first in the German organ tablatures of the 15th century (Ileborgh, 1448; Paumann, 1452). In the 16th century they were almost universally employed for the writing down of keyboard and lute music. Their use frequently differed considerably from that of the present day, however, as appears from the accompanying Example 1 (Pisador, Libro de musica de vihuela, 1552: "Pavana myllana"), in which the
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