Abstract：For a long time， modern Chinese poetics has discussed the musicality of poetic forms in terms of a musical sensibility that inheres within the text itself， one that does not have an immediate relationship to a particular oral tune. The field has defined such works as “textual poems”(tushi). Although scholarly attention has been paid to the issue of modern “singable poetry”(geshi)in the past decade， there have been few if any in-depth discussions of the relationship between these two genres. In regard to this issue， this article mainly discusses the fundamental question of the modern Chinese poetics since the literary revolution， that is how can new textual poems “sing”？ Rather than examining how poems “entered music” by “setting lyrics/poem to music”(yiqu tianci)， this article explores the question of the “melodising” of new Chinese textual poems emphasizing that musical creation in poetry should be understood by returning to the level of the “sense” produced by the “gestural rhythm” as a mediating agent to give expression to Xing within creative practice since the May 4th Movement. By using modern musical techniques to melodize the new textual poems in terms of “tailoring”(liangti caiyi)， the creation of new singable poetry dominated by the “Chinese art song” during this period， inherited and developed the poetic ideal status of the concepts of “musico-poetic” and “intimacy/harmony”(heyue)of the traditional Chinese singable poetry. Meanwhile， the melodising of new Chinese textual poems in the early period of the literary revolution is of far-reaching significance. It has established the relationship between human and objects in the early period of Chinese new poetry that blend with each other. It should be noted that such melodizing creation of new Chinese poetry has reached beyond the scope of the language of poetry， the Chinese character， realizing the intercommunication with music and other artistic languages.
2018, Vol. 57 
