the refrain is syntactically independent of the narrative poem in the song, and has no obvious relationship to its subject, and indeed little inherent meaning at all. The device can also convey material which relates to the subject of the poem. Such a refrain is found in Dante Gabriel Rossetti's "Troy Town": Heavenborn Helen, Sparta's queen, O Troy Town! Had two breasts of heavenly sheen, The sun and moon of the heart's desire: All Love's lordship lay between, A sheen on the breasts I Love. O Troy's down, Tall Troy's on fire! . . . Phrases of apparent nonsense in refrains (Lay the bent to the bonny broom?), and syllables such as fa la la, familiar from the Christmas carol "Deck the Halls with Boughs of Holly", have given rise to much speculation. Some believe that the traditional refrain Hob a derry down O encountered in some English folksongs is in fact an ancient Celtic phrase meaning "dance around the oak tree." These suggestions remain controversial. In popular music There are two distinct uses of the word "chorus". In the thirty-two bar song form that was most common in the earlier twentieth-century popular music (especially the Tin Pan Alley tradition), "chorus" referred to the entire main section of the song (which was in a thirty-two bar AABA form). Beginning in the rock music of the 1950s, another form became more common in commercial pop music, which was based in an open-ended cycle of verses instead of a fixed 32-bar form. In this form (which is more common than thirty-two bar form in later-twentieth century pop music), "choruses" with fixed lyrics are alternated with "verses" in which the lyrics are different with each repetition. In this use of the word, chorus contrasts with the verse, which usually has a sense of leading up to the chorus. "Many popular songs, particularly from early in this century, are in a verse and a chorus (refrain) form. Most popular songs from the middle of the century consist only of a chorus." While the terms 'refrain' and 'chorus' often are used synonymously, it has been suggested to use 'refrain' exclusively for a recurring line of identical text and melody which is part of a formal section—an A section in an AABA form (as in I Got Rhythm: "...who could ask for anything more?") or a verse (as in Blowing in the Wind: "...the answer my