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尽管20世纪以来的许多作曲家们在音乐语言上有了较大的拓展，并且将音色、节奏、织体等上升为重要的结构布局手段，然而，无论是“传统”还是“现代”在音乐发展的逻辑关系上仍然保持着相当的一致性。不同的结构布局方法，只是对音乐时空不同的分配而已，从这一角度上讲，作为与调性和声的结构并行发展起来的传统曲式，仍可成为无调性音乐语言的结构布局方法之一。这里笔者通过对乔治·本杰明的钢琴曲《海顿之名的冥想》的分析所获得的启示。
Although many composers since the 20th century have greatly expanded their musical language and raised their timbre, rhythm and texture to important structural layouts, however, whether it is “traditional” or “modern” in music The logic of development remains fairly consistent. Different structural layout methods merely assign different distributions of time and space to music. From this point of view, the traditional music form developed in parallel with the structure of tonal harmony can still be the structural layout of atonal music one. Here the author through the analysis of George Benjamin’s Piano “Haydn’s name” of the analysis obtained.