The principle of tripartiteness is the basic structural principle of musical form development and is universal in musical works. Whether in China or the West, the principle of tripartiteness is widely used in musical works.

Through the comparison of Chinese and Western music, we will explain the differences in the tripartite principle in Chinese and Western musical thinking; by sorting out the development of ancient two-part form, three-part form and ancient sonata form, we will get a glimpse of the three-part principle. The development process of the principle of tripartiteness;

Through the detailed discussion of the three-section form and the tripartite form, understand the application of the principle of tripartiteness in specific musical form structures; through other structures and the principle of tripartiteness The combination demonstrates the universality of the tripartite principle in musical works.

The basic structure of the tripartite principle

In the traditional analysis of musical forms and works, the tripartite principle is a basic structural principle for the development of musical forms. Generally speaking, the commonly used structural principles for the development of musical forms include the principle of echo, the principle of tripartiteness, the principle of succession, transformation, variation, and gyration. In addition, there are also less commonly used principles, such as the principle of parallelism, the principle of arching, etc. Principles of shape structure, etc.

The principle of tripartiteness is a commonly used structural principle of musical form development and is developed on the basis of the principle of echo. The principle of tripartiteness is to insert an intermediate part between two parts that echo each other. In specific music creation, it is reflected as A-B-A, that is, theme (presentation) - digression (contrast or extension) - return to the topic (reappearance of the theme). The principle of representation is the core of the tripartite principle.