I’d say, not quite. Conventional songs will have a distinction between verse (which tends to tell, and move on, a story) and refrain (which tends to sum up the story, or a moral.
But what you describe for Beethoven’s 5th is a much more complex process of development: that four-note motif keeps coming back through every movement of the symphony, forwards, backwards, slow, fast, solemn march and elegant minuet, (try counting them) - until the last movement blazes with positivity, by contrast with the doomy foreboding of the opening theme.
Similarly, classical music forms bat themes and bits of themes and motifs between the different instruments, in all sorts of ways, but they’re much more complex than what I understand by “call and response” - to me, that implies something relatively static and repetitive with little or no development or resolution.
Yeah, that’s a type of call and response and is pretty common in Western music. In my early music classes, we were often given, say, four bars of a melody and a “question” and we’d have to come up with a four-bar “answer” to it. Like take “Ode to Joy”. You have four bars of an initial motif and then you have it repeat with the “answer” just changing the last bar so the melody goes down and sounds like it’s finished a musical sentence.
We’ve had some big winds here and I recently tracked down a piece of vinyl window trim that was flapping an unsteady, kazooy honk just one of those birthday coil whistles. It really sounded like someone was in there, creepy AF.
