 cyclic form is a technique of musical construction, involving multiple sections or movements, in which a theme, melody, or thematic material occurs in more than one movement as a unifying device. sometimes a theme may occur at the beginning and end (for example, in the brahms symphony no. 3); other times a theme occurs in a different guise in every part (berlioz, symphonie fantastique). the technique has a complex history, having fallen into disuse in the baroque and classical eras, but steadily increasing in use during the nineteenth century . the renaissance cyclic mass, which incorporates a usually well-known portion of plainsong as a cantus firmus in each of its sections, is an early use of this principle of unity in a multiple-section form . examples can also be found in late-sixteenth- and seventeenth-century instrumental music, for instance in the canzonas, sonatas, and suites by composers such as samuel scheidt, in which a ground bass may recur in each movement (; ). when the movements are short enough and begin to be heard as a single entity rather than many, the boundaries begin to blur between cyclic form and variation form. in the baroque and 'high classical' eras, cyclic technique is not typically found in instrumental music, though luigi boccheriniâs music is an exception . mozart, for example, does not recall one movement's theme in any later movement anywhere in his quartets, quintets, symphonies or concertos. haydn uses the technique on only a few occasionsâsuch as at the end of the symphony no.&nbsp;31, where the music recalls the horn call heard at the very opening of the work . in sacred vocal music, on the other hand, there are some important exceptional examples, such as johann sebastian bachâs mass in b minor and mozartâs mass in c major, k.&nbsp;317 . it is with beethoven that cyclic technique re-enters the musical mainstream. in the fifth symphony a large part of the scherzo movement is recalled to end the finale's development section and lead into the recapitulation; and the ninth symphony's finale rapidly presents explicit reminiscences of the three preceding movements before discovering the idea that is to be its own principal theme. many composers in the nineteenth century followed beethoven's lead, most famously including the cÃ©sar franck symphony in d minor, the symphonie fantastique, and numerous works by franz liszt. these works include the b minor [[pi
Musical_form