唐代的詩與樂往往是分不開的，唐代的許多詩是為歌詩傳唱而作。《仁智要錄》箏譜集原有三十首，與論文題名相應之樂曲有所聯繫者，為數五首。本文筆者擬以「大曲」歌辭為探討對象，涵括格調〈涼州辭〉、〈劍器渾脫〉、〈還京樂〉、〈泛龍舟〉、〈蘇莫遮〉為主的歌辭，說明《全唐詩》、《樂府詩集》或《敦煌歌辭總編》的各首聲詩，以及葉棟先生所譯譜的五首樂曲，論述聲詩填配和樂曲的關係。各節重點如下：第一，由五首聲詩格調的來源，可知歷來傳辭的概略；第二，從聲詩與格調的聯繫中，得知同一格調聲詩的使用與內容相類的情況；第三，經葉氏的譯譜，這五首箏譜已有五線譜的呈現，筆者從中探討樂曲與詩歌的關係，且由曲式分析的角度論述聲詩演唱的樂曲架構。

The poetry in the Tang Dynasty tended to be inseparable from music and many poems in the Tang Dynasty were written in order to sing them as songs. “Collection of Music Scores for Solo Zither” collected 30 pieces of music scores for solo zither. However, only five of them conform to the study title. The subjects were the lyrics of “Major Musical,” including the lyrics of “Liang Zhou Ci,” “Sword Dance and Dance of Ethnic Minorities,” “Music for Return to the Palace,” “Dragon Boat Rowing,” and “Dance of Ethnic Minorities.” The lyrics of large-scale musical composition were investigated to explain the musical poems in “Quantangshi,” “A Poetry anthology of Yuefu,” or “Collection of Dunhuang Lyrics” and five musical compositions transcribed by Yeh Tung to discuss the relationship between lyrics compiling and musical composition. The findings are as follows: 1) the skeleton of the succession of lyrics compiling could be understood according to the origin of the tune of five musical poems; 2) the use of the same tune and similar content in the musical poems of the same style could be found based on the connection between musical poems and tune; 3) the relationship between musical composition and musical poems could be investigated and the framework of musical composition for performing musical poems could be discussed from the perspective of analysis on the style of tune according to the transcription of Yeh Tung.