"Spring River Flowers and Moonlight Night" is a famous national orchestral ensemble piece, which is derived from the pipa song "Sunset Flute and Drum". In the 1920s, Liu Yaozhang and others from Shanghai's "Datong Ensemble" were the first to adapt it into a national orchestral ensemble, and named it "Spring River Flower Moonlight Night" based on the poetic and picturesque expression of the music. After liberation, it was processed and organized several times, which greatly enriched the expressive power of the music.

The music style of "Spring River with Flowers and Moonlight Night" is clear, tranquil, delicate, smooth, poetic, and the music structure is a free variation form. It consists of ten sections, each section has a subtitle: ① Jianglou Bells and Drums: ② The moon rises over the east mountain; ③ The wind blows back and bends the water; ④ The shadows of flowers are cascading; ⑤ The water is deep between the clouds; ⑥ The fishermen sing late; ⑦ Hui Lan Patting on the shore; ⑧ The bell calls Toose; ⑨ It’s time to return to the boat; ⑩ The end. These ten sections have the same ending phrase.

This form is called "joint tail".

The first section of the music serves as an introduction. The pipa, xiao and guzheng here depict the scene of sunset reflecting on the water and the sound of bells and drums. The main melody of the whole song appears in this section.

It is beautiful and full of singing, and the funny notes at the beginning and end are connected by unison, making the melody stable in lightness and simple in freshness. The second section of the music, "Moon on the East Mountain" and the third section, "The Wind Returns to the Wind and the Water", are both free progressions of four and five degrees on the main melody. The moving music can easily remind people of the bright moon and blue waves flying through the clouds. The rippling river water and the beauty of the scenery are mesmerizing. In the next few paragraphs, some are developed with theme and melody, and some add new materials. In short, various ethnic instruments are used to the best of their ability in orchestration techniques, and the scenery depicted is very close to the subtitle. In the ninth section, the music reaches its climax. The "浵Nai" in "鈵Nai Returns to the Boat" is the sound made when the oar is rocked. The guzheng and arpeggios set off the orchestra ensemble. The sound of the oar goes from weak to strong, from weak to strong. Slowly and gradually quickly, the melody is tight and exciting.

Soon, the music changed from the warm atmosphere to calm. The return boat finally left. At the end, Pipa and Dahu played beautiful and distant tunes, and the Spring River was quiet and peaceful.