本研究主要從三方面探討楊慎的詞學論述，及其對填詞藝術技法、聲律音調的主張。其一，由《詞品》著手，比勘此書《函海》本、珥江書屋校刻本等古籍文獻，得出現存《詞品》文本之最大面貌，從中分析楊慎對「詞」之源流，及對時人填詞弊病的反思。楊慎一方面顛破時人論詞度曲，必宗宋詞的傳統，追本溯源，強調「詞」是「詩」之變體，是解散詩句句式結構，作長短句韻語而成，此亦「詞」謂之「詩餘」本因。又，「詞牌」名稱，亦多發端自六朝詩之語，是以楊慎論詞觀點獨樹一幟，將「詞」之濫觴，溯及古詩，推本歸源於六朝詩歌。另一方面，楊慎指出「詞牌」不單是指一闋詞的聲律格調，亦規範著詞作主題與內容，並以「歐蘇詞用《選》語」、「易安詞用《世說》語」、「稼軒詞用晉帖語」，力陳填詞字句必溯源六朝之殊見。其次，本文深入理解楊慎主張「填詞用韻宜諧俗」等詞律和聲韻規範之內涵。最後，復將其理論對照作品，藉由楊慎《廿一史彈詞》（《歷代史略詞話》）、《升庵長短句》等著作，從「理論」的檢視，回應到「創作」的「實踐」層面，本文試圖具體而微地闡發楊慎在詞學方面之創見，並肯認、發揚其欲矯正時弊、回應明代文壇詞風與詞觀的貢獻。

The theories of Song poems (Song Lyrics 宋詞), which are usually traced back to Tang poems(唐詩) and with important consensus formation system on literary criticism, have been previously mentioned several times on the Chinese literary history. This article which focuses on the Song poems statements by Yang Shen(楊慎) not only provides a new horizon on Chinese critical texts, but also addresses two problems that have been ignored or not adequately treated in earlier works. First, it traces the history of Song poems, linking them with Six dynasties poems(六朝詩), and organizes a new genealogy of Song poems. Second, Yang Shen shows poetic rhythm and creation rules, methods about Song poems. In particular, he persists that the creation forms on Song poems should be looked back upon poem in six dynasties. Ultimately, this article aims to sort out the theories and creative works of Yang Shen, and implicitly ask the question of how to reconstruct Chinese poem history, when facing the material from the Chinese medieval period, reflecting the literary problems in Ming dynasty ( 明朝). I suggest that we should emphasize the Six dynasties literature(六朝文學) and make use of what we have to re-inspect, as best as we can.