It's because a guitar has 6 strings of which 5 may be ringing plus the vocalist puts the number of voices near the acceptable ball park for complexity.
A vocalist with a pianist is another example for the same reason. We don't pair vocalist with only a flute player usually because then only two notes sound at the same time and fails most peoples criteria for sufficient complexity.
This also applies to song form which is where most books on music composition instruction start. A song can have one section that repeats which could be labeled AA.
Although it occurs in the classical repertoire, most modern people find it far too simplistic both as listeners and composers.
Another form is to have a first section with a contrasting section as in AB. The complexity has increased but not much and still fails the music psychology test.
After that comes ABA. This is just at the lower range of the acceptable complexity scale and you run the risk of boring more than half of your audience with something like this in my opinion.
When we come AA'BA'' we're making real progress. This is the form of a lot of jazz standards. The A's are called verses and the B is called a bridge and the whole thing is called a chorus.
This terminology is different when talking about pop music which we'll get to in a moment. The problem with jazz is that if each person takes a turn soloing over several repeats of the form then it fails the complexity test by containing too many sections of music.
AABA for the first statement of the material then AABA again for the first soloist and maybe played more than once. Then AABA again for the second soloist. and the third and the fourth.
So there's something like AABAAABAAABAAABAAABAAABAAABAAABAAABAAABA etc.. That's 40 sections of music which is way beyond what most people will sit through especially if there's a drum solo.
Some people will "chunk" each AABA into a single section but that leaves 10 which is still too high.
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