在曲式分析当中，人们最常遇到的问题就是对作品规模等级分析的困惑，不是将乐句划分短了，就是把乐段划分长了，由此导致认定曲式性质的各种“争议”。在教学中更有依据“小节数”来判定乐句、乐段，这显然是特别不合理的作法。文章的观点是：乐句乐段的确认，应当从最小单位“乐汇”的累积形成，也就是要以音乐材料的“有机成长”关系来看待曲式规模的成长壮大，曲式规模的大小是由规模等级的累积形成，而不能是人为的概念规定，因而在读谱过程中，音响感受与理性划分等级相互作用、同等重要。文章指出，在规范曲式的等级单位中，乐汇－乐节－乐句－乐段的等级排列，决定了曲式的规模形成。其最小单位乐汇与动机间的关系，既是音乐作品展开手法的依据，也是看待音乐作品规模认定的出发点。同时，论文以各种谱例来比较印证曲式规模形成的重要作用，强调一些分析原则：重复不增加规模，重视和声手法中“延伸”“预示”等分析视角，在判定规范的曲式规模及其种种曲式变体的形式中，都是有效的认识途径。%In study of musical form , people always meet many puzzles about hierarchy of the scale in music composi -tional structure .Division of music phrase or section directly affect to the classification of musical form .The obvious mistake is that the music structure was divided by measure ’s number.Inthis paper, author believes that music motif is the miniature unit of piece , also is foundation of the music structure .Many motifs gather together and grow organic to the phrases and sections .The relationship of motif was the vital basic for develop of music .So in analysis , division rational and auditory feeling is equaled important and inter -affected .The Paper also showsplenty of music score sup-porting the author ’ s viewpoint .In additional , paper emphasis some principle:Repeating not increased the scale , ex-tend and anticipation in harmony which also were the effective path in musicalstructure study .
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