詩人楊牧自1956年創作伊始，就一直堅持對於聲音（語音、語調、辭章結構和語法變化產生的音樂性）的追求，這也使他的詩歌獨樹一幟，影響深遠。研究其聲音特質，不僅需要借助於語言技巧，更在於探究聲音與語義之間的互動關係。而意象所蘊含的語義功能，正提供了一條可借鑒的考察路徑。從楊牧長達半個多世紀的創作中，能夠提煉出聲音與意象之間存在的三種美學關係，即（一）靜佇：沉默的時間、（二）永在：歸去的回環和（三）浮升：抽象的螺旋。通過研究楊牧的詩歌，也為分析聲音與意象理論關係提供了重要的個案典範。

Ever since the very beginning of his poetry writing in 1956, Yang Mu has been consistent in his pursuit of sonic beauty through verse (including the musicality of pronunciation, tones, textual structure and grammatical innovation), which imbues his poems with rich meanings and limitless interpretative possibilities. In researching the sonic qualities of poetry, focusing solely on linguistic features is insufficient to discern the ways sound functions in a poem. What is more important is to study the interaction between sound and meaning, for which analyses of imagery prove helpful. From Yang’s poetry, which spans half a century, three aesthetic relations between sound and meaning can be deduced: standing still and silent time; eternal being and circularity; ascendance and abstract spirality. It is argued here that Yang’s poems can be used as typical examples for analyzing the theoretical relations between sound and imagery.