Composer Richard Wagner in act III of his opera Die Meistersinger von Nürnberg, used the word Bar incorrectly as referring to a stanza of the prize song.
Composer Johannes Brahms claimed the AAB form of the chorale "Jesu, meine Freude" generates larger formal structures in Bach's motet of the same name.
Such AAB forms may be found in works ranging from Lutheran chorales to "The Star-Spangled Banner" to songs by Schubert, Schumann, and Brahms.
The German musicologist Alfred Lorenz, in his studies of Wagner, abstracted the concept of barform to include anything resembling an AAB structure at any level of scale: "The essence of the Bar does not reside in the actual length, but in the distribution of its powers.
"[3]Lorenz argues that this short-short-long structuring principle occurring at multiple scales at once gives Wagner's music its feeling of ever-present forward momentum.