In ancient times, China has long paid attention to the form of music. In addition to indicating the tonality of the "Xianghe Song" of Yuefu in the Han Dynasty (there are three tunes: Ping, Qing and Se), the form of "Daqu" has Yan , trend, twist, solution and chaos and other components. In the Tang Dynasty, the musical form of "Daqu" was generally Sanxue (the introduction part of Sanban), Zhongxu (i.e. song, divided into song head, □, and main □), Po (with entering and breaking, empty urging, and solid). It can be divided into urging, stopping shooting, Shagun, etc.) and so on. The Song lyrics have musical forms such as Ling, Man, Jin, Jiang, and Gu. Folk art music also includes Guzici, Hulanger, Changzhuo, Zhugongdiao, Sanqu and other genres, each with its own specific musical form. Records of musical forms in ancient China are mainly limited to larger paragraphs and general explanations, lacking more specific technical analysis. In addition, it is a feature to give an aesthetic explanation to it. Chen Minzi of the Yuan Dynasty (active from 1314 to 1320), in the "Composition Rules" of "Qin Lü Fa Wei", which introduces the composition method of "making tunes and introducing tunes" and "starting tunes and completing the tunes", combines the composition with music. Style and aesthetic requirements. Zhi'an's "Singing Theory" of the Yuan Dynasty summarized the stylistic meaning of the Seventeen Palace Diao. The "On Banyan" section of "Fangzhuguan Music" written by Ming Wang Jide (1573? ~ 1627?) discussed the rhythm of Banyan. Regarding the influence on music and singing, "Yuguzhai Qinpu" written by Zhu Fengjie of the Qing Dynasty explores the characteristics of Qin music in terms of musical form and tune progression from the perspective of creation and performance.