The notion of musical form has recently been fundamentally reconsidered and reconceived. In reacting to the prevailing structuralist perspective on form as immanent within a musical score and operating synchronically as ‘architecture’, writers such as John Rink, Hermann Gottschewski and others have proposed an understanding of form that emphasises its pluralistic nature: they define it as a phenomenon that emerges each time anew in the manifold interactions between scores, performers and listeners through the processes of affordance and inference. They also argue that form is primarily experienced diachronically, that is to say, during the process of musical performance (whether real or imagined). As a result of this reformulation, a need has arisen for novel analytical techniques that capture and clarify the dynamic experience of form in performance. While scholars such as Ana Llorens have experimented with methods of this nature, the possibilities are by no means exhausted in this regard. In this chapter, I argue that the use of intensity curves in music analysis can productively extend the apparatus at our disposal to study form in performance.