1. There are great changes in the form and the principles on which it is based. The traditional musical form is regarded as a concept of external factors, and the creation of modern musical works can all come from the material in the musical form structure, no longer following the traditional principles such as symmetry, logic and reproducibility, and people have abandoned the traditional basic principles such as presentation, restatement, circulation, variation, derivation, comparison, expansion and reproduction of musical ideas. On the basis of new logic, the traditional typical musical structure types have also been given new meanings and explanations, and replaced by the ever-changing and "one person and one side" complex structure;
In the 2th century, human beings were more rational and more emancipated. In the history of music, most people's musical rights were alienated because of specialization-music became a musician's "patent", while ordinary people were excluded and only passively participated in the "appreciation" of music-which was largely changed. In particular, urbanized folk music-pop music kept more contact with traditional music and the real society. Deeply integrated into the feelings of ordinary people, coupled with the extensive use of electroacoustic technology, it has the characteristics of square music and direct participation of the audience, and has become a new culture that can not be ignored.
2th century music is called modern music and post-modern music. Scholars also use new methods such as structuralism and deconstruction to explain the endless new creations of 2th century music. In the 2th century, modern music, including professional music and pop music, experienced complicated situations in music creation, performance, communication and music life, which were greatly different from those in the past. And each of us should have the initiative to understand this kind of modern music that was born, developed and grew up at the same time with ourselves, admit its courage and objectively evaluate its attitude, because innovation and creation have always been the historical tradition of music, the soul and the most important value of modern music.
musical structure is an outline structure that enables music to be attached to the sound layout that develops over time. "As the highest embodiment of creative purpose and imagination, musical form, as the ruler of all means, realizes thousands of changes and is arbitrary in the control, standardization and higher-level artistic unity." In traditional music, with the long-term accumulation, the musical form has formed the logic of musical language statement based on the principles of presentation, restatement, circulation, variation, derivation, comparison and reproduction, forming a relatively standardized typical musical form model. However, subject to the symbolic significance and cultural mapping of music creation in the 2th century, the musical form structure of the 2th century also embodies the characteristics of diversification, new creation and new logic.
in the 2th century, music has two main tendencies in its musical structure, and we can classify them from the side of their relationship with traditional music. One tendency is closely related to the traditional musical structure, and the other is to leave the traditional musical structure mode, concept and cognitive method at a long distance.
in the former type, some of them basically conform to the traditional structural forms. Generally, this kind of works need the composer's great new creation in other factors, so that the works can really have "innovative" value. For example, the revival of emotional expression in Barber's works, the pop music-jazz factor in Gershwin's works, Bartok's new symmetrical structure principle, Oneig's making new sound in regular bands, the entry of rock music in Bernstein's works, the novel handling of motivational materials in Jian Yuepai's music, and the deconstruction and reconstruction of music products by mosaic music. In the analysis of these works, we must also have new methods to explore, in order to get a truthful new understanding under the surface of the traditional musical form of the works. This question is too profound, so that's all it should be.