Cone conceives musical form as being basically rhythmic.
A painting has a frame marking the limits of the picture, as well as separating it from the 'real' world around it. Cone believe s that a musical work also contains a frame - silence or actual music which in effect separates the composition from the world around it. He also makes a careful distinction between a frame and an introduction, which is defined as an expanded upbeat lead ing to the structural downbeat. Also in this chapter Cone discusses the idea that the cadence is the goal of musical motion. Rather, Cone de scribes different types of strong points in a musical phrase, including the initial accent and the cadential accent, with many varying degrees of medial strong points in between.