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Movie Title Year Distributor Notes Rev Formats Penis Hunting Gal 2014 Kira Kira Cycle has several meanings in the field of music. Acoustically, it refers to one complete vibration, the base unit of Hertz being one cycle per second.[1] Theoretically, an interval cycle is a collection of pitch classes created by a sequence of identical intervals. Individual pieces that aggregate into larger works are considered cycles, for example, the movements of a suite, symphony, sonata, or string quartet.[2] This definition can apply to everything from settings of the Mass or a song cycle to an opera cycle. Cycle also applies to the complete performance of an individual composer's work in one genre.[3] Harmonic cycles—repeated sequences of a harmonic progression—are at the root of many musical genres, such as the twelve-bar blues. In compositions of this genre, the chord progression may be repeated indefinitely, with melodic and lyrical variation forming the musical interest. The form theme and variations is essentially of this type, but generally on a larger scale. Composition using a tone row is another example of a cycle of pitch material, although it may be more difficult to hear because the variations are more diverse.
Contents 1 Rhythmic cycles 1.1 Indian classical music 1.2 Music of Indonesia 1.3 Sub-Saharan African music traditions 2 Mixed cycles 3 Opera cycles 4 See also 5 References Rhythmic cycles Indian classical music Main article: Indian classical music In Indian classical music, a specific rhythmic structure known as a tala is repeated through the length of the raga, and used as a basis for improvisation of the drum parts. Music of Indonesia

In the gamelan music of Indonesia, there are nested gong cycles which determine the rhythmic framework of the piece. This sort of cycling is called colotomy. In the same way as specific harmonic cycles determine the genre of many Western pieces (like the blues), gamelan pieces are classified according to their colotomic structures. Some other styles of music, such as gagaku or pi phat, have been analyzed colotomically. Sub-Saharan African music traditions Main article: Sub-Saharan African music traditions Rhythm in Sub-Saharan Africa is typically generated by multiple cross-rhythmic cycles, in relation to a primary cycle of four main beats.[4] This basic musical period has a bipartite structure; it is made up of two rhythmically opposed cells, consisting of two beats each.[5] Kubik points out that the four-beat cycle is a shorter period than what is normally heard in European music. This accounts for the stereotype of African music as "repetitive." The cycles have a beginning and an end, with the two joining.[6] The lead instrument, or soloist, may temporarily contradict the primary cycle with cross beats and larger phrases, but awareness of the cycle is ever present.[7] In many sub-Saharan and Disapora musics, a key pattern, typically played on a bell, establishes the basic cycle or period. Mixed cycles Different types of musical cycles can overlap. One example is isorhythm, the medieval practice of using melodic and rhythmic cycles in one or two voices. There is a certain sequence of pitch material (known as the color) and a separate sequence of rhythmic values (known as the talea), which is of different length. If the lengths of the two cycles are relatively prime, a complex melody will emerge. Most compositions using this technique end when the two cycles coincide. A similar process is used in serial music, although the number of different overlapping cycles can be quite large, and encode a wide variety of musical parameters, such as dynamics, articulation, timbre, register, and so forth. Opera cycles Richard Wagner's Ring Cycle consists of four individual operas. Giacomo Puccini's Il tabarro, Suor Angelica, and Gianni Schicchi form a set of three one-act operas, intended to be performed together and collectively titled Il trittico. Germaine Tailleferre's Du style galant au style méchant is made up of four chamber operas which parody a different operatic form or style[8] Robert Ashley's Perfect Lives, Atalanta, and Now Eleanor's Idea form a trilogy. R. Murray Schafer's Patria is composed of twelve separate works, which he classifies as "music theater". Karlheinz Stockhausen's Licht consists of seven individual operas named after the days of the week. 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 Mendelssohn's A minor String Quartet or Brahms's Symphony No. 3); other times a theme occurs in a different guise in every part (e.g. Berlioz's Symphonie fantastique, and Saint-Saëns's "Organ" Symphony). 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 (Randel 2003). 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 (Burkholder 2001). 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 (Macdonald 2001; Randel 2003). 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.[clarification needed] Cyclic technique is not typically found in the instrumental music of the most famous composers from the Baroque and "high classical" eras, though it may still be found in the music of such figures as Luigi Boccherini and Carl Ditters von Dittersdorf (Macdonald 2001; Taylor 2011). Nevertheless, in the Classical period, cyclic technique is found in several works of Mozart, The entries of the soloist in the outer movements Piano Concerto No.20 in D minor K. 466 share the same chord structure[clarification needed][citation needed]. In String Quartet in D minor K. 421, all the four movements are unified by the motif, "F-A-C-C-C-C".[citation needed] In String Quartet No.18 in A major K. 464, different rhythmic motifs of the concept "long-short-short-short" of the first movement and second movement combine in the finale.[clarification needed][citation needed] Mladjenovic, Bogunovic, Masnikosa, and Radak state that Mozart's Fantasia, K. 475, with its multi-movement structure inscribed in a one-movement sonata form, started something later finished by Liszt in his B minor Piano Sonata (Mladjenovic, Bogunovic, Masnikosa, and Radak 2009, 103–04).[clarification needed] Joseph Haydn uses cyclic technique at the end of the Symphony No. 31, where the music recalls the horn call heard at the very opening of the work (Webster 2002). In sacred vocal music of Baroque and Classical periods, there are several examples of cyclic technique, such as Johann Sebastian Bach's Mass in B minor and Mozart's Mass in C major, K. 317, Spatzenmesse in C major K. 220, Litaniae de venerabili altaris sacramento K. 243,[citation needed] and especially Requiem in D minor K. 626, where the "DNA"[clarification needed] of the Lutheran hymn motif, "D-C#-D-E-F", permeates the entire work (Woods 2009; Sapsuev 2014, 501–02[failed verification]). Although other composers were already using this technique, it is Beethoven's example that really popularised cyclic form for subsequent Romantic composers (Taylor 2011). In Beethoven's Fifth Symphony, a large part of the scherzo movement is recalled to end the finale's development section and lead into the recapitulation; 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; while both the Piano Sonata Op. 101 and Cello Sonata Op. 102 No. 2 similarly recall earlier movements before their finales. In the 1820s, both Franz Schubert and the young Felix Mendelssohn wrote numerous important cyclic works: Schubert, in the Wanderer Fantasy (1822) created a "4-in-1" double-function design that would leave its mark decades later on Liszt, while Mendelssohn, in such works as the Octet (1825) and String Quartet No. 2 (1827) created highly integrated musical forms that proved influential for later Romantic composers (Taylor 2011). Another significant model was given by Hector Berlioz in his programmatic Symphonie fantastique of 1830, whose "idée fixe" serves as a cyclic theme throughout the five movements. By the 1840s, the technique is already quite established, being found in several works by Robert Schumann, Fanny Hensel, Niels Gade, Franz Berwald, and the earliest compositions of César Franck (Strucken-Paland 2009). Mid-century, Franz Liszt in works such as the B minor Piano Sonata (1853) did a lot to popularize the cyclic techniques of thematic transformation and double-function form established by Schubert and Berlioz. Liszt's sonata begins with a clear statement of several thematic units and each unit is extensively used and developed throughout the piece. By late in the century, cyclic form had become an extremely common principle of construction, most likely because the increasing length and complexity of multiple-movement works demanded a unifying method stronger than mere key relation.[citation needed] At the beginning of the twentieth century, Vincent d'Indy, a pupil of Franck, promoted the use of the term "cyclic" to describe the technique (Strucken-Paland 2009). The term is more debatable in cases where the resemblance is less clear, such as in the works of Beethoven, who used very basic fragments. Beethoven's Symphony No. 5 is an example of cyclic form in which a theme is used throughout the symphony, but with different orchestration. The "short-short-short-long" four-note motive is embedded in each movement.[citation needed] Examples Examples of cyclic works from the classical era and afterwards are: Wolfgang Amadeus Mozart Symphony No.40 in G minor K.550: similar descending chromatic pattern shared by two outer movements in their second themes Symphony No.41 in C major K.551: similarities in the principal rising dotted-rhythmic motifs of the first movement and the second movement; the dotted-rhythmic motif of the second movement develops into a theme that resembles one of the five themes of the finale; the minuet foreshadows the "C-D-F-E" motif of the finale String Quartet No.15 in D minor K. 421: "F-A-C-C-C-C" motif heard in all four movements String Quartet No.18 in A major K. 464: different rhythmic motifs of the concept "long-short-short-short" of the first movement and second movement combined in the finale. Fantasie & Sonata for Piano in C minor K. 475 & 457: motivic similarities between the preceding fantasie and the sonata Piano Concerto No.20 in D minor K. 466: The entries of the soloist in the outer movements share

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