本文主要从现象学音乐美学的学术立场出发,对“音乐作品的存在方式”这一基本美学问题进行必要的分析和探究。通过对茵加尔顿发表于1933年的论著《音乐作品及其同一性》的仔细研读,指出音乐作品的存在不仅仅是“绝对化”、“简单化”的“纯意向性”维度,进而对音乐作品的“纯意向性”存在进行必要的补充。 Based on the academic standpoint of phenomenological music aesthetics, this paper mainly analyzes and probes into the basic aesthetic question of the existence of musical works. Through a careful study of the article “Music Works and Their Identities” published by Ingleton in 1933, it is pointed out that the existence of music works is not only “pure” and “simple”, but also purely intentional “Dimension, and then make the necessary supplement to the existence of” pure intentionality "of music works.