The charm of music lies in melody, but melody is invisible, intangible, and harder to describe than other things. Among the works of the Tang and Song Dynasties, some poems describing music are relatively famous, with unique writing methods and their own merits. The works describe sounds, shapes and effects from multiple angles, allowing us to feel the beauty of music.

Using metaphors to describe and render the characteristics of sounds can turn unfamiliar melodies into familiar sounds and make abstract sounds concrete and visual. For example, Li Bai's "Listening to the Shu Monk Playing the Qin" "Waving your hand for me is like listening to thousands of pines." This sentence describes the Shu monk playing the piano in a positive way. "Waving" is the movement of playing the piano. Using the pine waves in thousands of mountains and valleys as a metaphor for the sound of the piano, it describes the clear, grand and far-reaching sound of the piano, sonorous and powerful.

Another example is Bai Juyi's "Pipa Play": "The big strings are noisy like the rain, and the small strings are like whispers. The noises are mixed, and the big and small beads are falling on the jade plate. The orioles are whispering at the bottom of the flowers. It's so slippery that it's hard to go under the ice. The icy spring is so cold that the sound never stops. There's no sound at all. The silver bottle breaks and the water bursts out, and the iron cavalry screams. Finally, draw carefully, the sound of the four strings is like cracking silk." From "The big strings are noisy like heavy rain" to "The sound of four strings is like cracking silk", there are fourteen sentences, using the sound of heavy rain, whispers, and the sound of beads falling on a jade plate. , the sound of orioles, the sound of gulping springs, the sound of cracking silver bottles, the sound of swords and guns, and the sound of cracking silk are compared with the sound of pipa. Write it from fast to slow, to weak, to silent, to the sudden violent storm, and finally to the end. One stroke and it came to an abrupt end. The poet uses a series of vivid metaphors here to make the more abstract musical image suddenly become vivid. It makes the listener sometimes sad, sometimes soothing, sometimes refreshing, and sometimes shocking. Appropriate use of metaphors and sound metaphors makes the sound appear on the paper, allowing people to hear it and be immersed in the scene.

Synaesthesia is to communicate the feelings of different senses and cause sensory transfer through association, "writing feelings with feelings". "Synesthesia" will turn invisible sounds into visible things, allowing readers to "see" their sounds and remember them vividly. In synaesthesia, colors seem to have temperature, sounds seem to have images, and coldness and warmth seem to have weight.

For example, Li He's "Li Ping Konghou Yin" "Kunshan jade broken phoenix screams, hibiscus weeps and dew fragrant orchid smiles." These two sentences are full of music, and each has its own characteristics. "The broken jade phoenix of Kunshan screams", which is written in voice. Sometimes all the strings of the harp and harp sound in unison, making a noisy noise, like broken jade and a landslide, which makes people unable to distinguish it; sometimes a single string sounds alone, like the cry of a phoenix, vibrating the trees and stopping the moving clouds. "Jade Broken" means its sound is clear and sweet; "Feng Ming" means its sound is gentle and melodious. "The hibiscus weeps and the dew fragrant orchid laughs" uses synaesthesia to write sounds in form. The dewy hibiscus seems to be crying with tears, and the blooming orchid seems to be smiling with its mouth open. The poet uses "Hibiscus Weeping Dew" to describe the melancholy and sad sound of the piano, and uses "Fragrant Orchid Smiling" to show the beauty and joy of the piano sound. These descriptions turn hearing into vision, and can not only be heard, but also witnessed. It’s really wonderful to have both form and spirit.

Another example: Han Yu's "Listening to Master Ying Playing the Qin" "Intimate children's words, grievances and grievances are between you. Suddenly it becomes high-spirited, and the warriors go to the enemy's field. The floating clouds and catkins have no roots, and the sky and the earth are vast and far away. . "The sound of the piano rose up, soft and fine, as if children were whispering and talking to each other while rubbing their temples together. Suddenly, the sound of the piano suddenly became high-spirited and passionate, just like a brave soldier waving his arms and leaping horse and charging into the enemy's formation, showing extraordinary momentum. Then the sound of the piano changed from hard to soft, rising and reverberating. Just like after a bloody battle, the enemy atmosphere has been wiped out. At this time, the sky is clear and the wind is gentle. There are a few white clouds floating in the distance, and a few catkins swaying nearby. They are floating uncertainly, if they are there or not, It's elusive, but it makes people think. The whole poem rises and falls like the tide of the Qiantang River, with turbulent waves, layer upon layer, and endless changes. It may show the affection of children, or imitate heroic spirit, or incorporate otherworldly thoughts, or express the sadness of bumpy road, one is soft and one is strong, one is happy and one is sad, forming a situation of great disparity, making people feel The endless feeling of seeing the distant sky. Here, the musical sounds that appeal to hearing are transformed into moving pictures, making people immersed in the scene and feel the same.

Rendering is a method of side description, which uses rendering to set off the main object and make the things represented more vivid and prominent. In the description of music, scenery is often used to set off the atmosphere and express the touching effect of music.

For example, Bai Juyi's "Pipa Xing" "The east boat and the west boat are silent, only the white autumn moon is seen in the middle of the river.

"The performance has ended, but the listener is still immersed in the realm of music. There is silence around, only a bright moon is reflected in the water.

Another example is Li Bai's "Listening to the Shu Monk Playing the Piano" "I don't feel the blue. It's dusk in the mountains and the autumn clouds are dark. "The crisp and smooth sound of the piano gradually faded away, ringing with the bells in the dusk, and then I realized that it was getting late. After listening to the Shu monk playing the piano, the poet looked around. I don't know when it started, but the green mountains had already Covered with a layer of twilight, gray autumn clouds overlap and fill the sky. It feels like time flies so fast.

Another example is Su Shi's "Picking Mulberries: Meeting Sun Juyuan in Duojinglou in Runzhou". Stop the cup and listen to the music of the pipa, playing it carefully and lightly. The drunken face is melted with spring, and the river and sky are slanted with a touch of red. The concluding sentence of this word, "A wisp of red gleams across the river and sky", is exactly a scene language. It can be regarded as a realistic representation of the "waning glow of the sunset" at that time, and it can also be regarded as a way to describe the "drunk face" of the Huqin girl. And it The beauty of the song is that it is elusive and endlessly thought-provoking. After the performance ended, the audience was still immersed in the aftertaste of the music, and there was a moment of tranquility. , I only see the sunset slanting on the river, and the water and sky reflect the red light of the setting sun. From the side, it shows the wonderful and fascinating sound of the pipa. A vast space for aftertaste.

Side description is like an "echo wall" that maps out the described "voice" and allows readers to savor its voice from "looking back". This effect cannot be achieved by direct description.

The poet uses imagination to bring readers into a vast, profound, magical and magnificent realm. The combination of reality and reality creates an implicit and ethereal artistic realm.

For example, Li He. "Li Ping Konghou Yin" "Where Nuwa refines stones to mend the sky, the stones break the sky and make the autumn rain startle." I dreamed of entering the sacred mountain to teach the goddess, and the old fish danced the thin dragon dance. Wu Zhi sleepless and leans against the osmanthus tree, flying wet and cold rabbits sideways with bare feet. "Where Nuwa refines stones to mend the sky, the stones break the sky and amaze the autumn rain." "The sound of music spread to the sky, and Nuwa, who was repairing the sky, was so fascinated by it that she even forgot her duties. The result was earth-shattering and the autumn rain poured down. This kind of imagination is so bold and extraordinary, unexpected, and touching. A "funny" "" closely links the powerful charm of music with the above-mentioned wonderful scenes. Moreover, the shocking and autumn rain scenes can also be regarded as the manifestation of the image of music.

"Dream in" The sacred mountain teaches the goddess, and the old fish dances the thin dragon dance. "The wonderful music came to the sacred mountain, and the goddess was also moved by it; the music was so touching that it caused "the old fish to dance on the waves and the thin dragon dance." The poet used the two words "old" and "thin" to describe The flat and dry words modify the fish and dragon, but have the opposite artistic effect, making the musical image more full. The old fish and the thin dragon are originally weak and have difficulty moving, but they actually dance to the melody of the music. This is an unexpected image description. , so that the invisible and beautiful sound of the harp is presented in front of the readers like a relief.

"Wu Zhi sleeplessly leaned against the osmanthus tree, flying wet and cold rabbits with his feet exposed. "As a further illustration: Wu Gang, who was exhausted from cutting osmanthus all day long, stood there for a long time leaning against the osmanthus tree, forgetting to sleep; the Jade Rabbit crouched aside, letting the late night dew keep falling on his body, soaking his sweater, They also refuse to leave.

These beautiful images full of thoughts and feelings are deeply imprinted in the readers' hearts, just like the bright moon projected on the water, they appear deep and distant, intriguing and thought-provoking. < /p>

Using allusions to write music is to use some historical figures, myths and legends, fables, etc. to express wishes or emotions. It appears to be elegant, interesting and subtle. It can make the language more concise, concise and comprehensive, and the words are close to the point.

For example, the sentence "The guest's heart is washed by running water" in Li Bai's "Listening to the Sichuan Monk Playing the Qin" literally means that after listening to the Sichuan monk's playing the piano, one's heart will feel as refreshed as if it were washed by running water. Pleasurable. But it also has a deeper meaning, which contains an ancient allusion, that is, the allusion of "Mountains and Flowing Waters" in "Liezi Tang Wen", which uses it to express the feeling of confidant established by the Shu monks and themselves through the medium of music. The five words "guest heart washes with flowing water" are implicit and natural. Although they are allusions, they are not difficult to express, which shows Li Bai's excellent language skills.

"The bell that lingers in the frost" also uses allusions. "Frost Bell" comes from "The Classic of Mountains and Seas·Zhongshan Jing": "Fengshan... there are nine bells, which know the sound of frost. "Guo Pu notes: "When frost falls, the bells will ring, so it is known. "The word "Frost Bell" points out the season, echoing the "dark autumn clouds" below. "The lingering sound of the frost bell" means that after the music ends, the lingering sound lasts for a long time, which is the same as the temple bells at dusk. blend together.

This poem describes the symphony of piano sounds and bells, and also contains the meaning of close friends.

Write about the audience’s subjective feelings and reactions when listening to the piano, and highlight the beauty of the piano sound from the side.

For example, Han Yu's "Listening to Master Ying Playing the Qin" "I groaned with two ears, but I didn't know how to listen to the silk bamboo. When I heard Master Ying playing, I got up and sat aside. I pushed my hands and stopped suddenly, and my clothes were wet with tears. "You are so sincere, but you can't put ice in my heart!" The two sentences "嗟我" are self-effacing words, indicating that I don't understand music and don't understand the mystery of it. Despite this, I was still deeply moved by Master Ying's music. First I felt restless, and then I burst into tears, which soaked my clothes and kept dripping. This kind of strong emotional stimulation was really unbearable, so I pushed my hands to stop it and couldn't bear to listen. The last two sentences further exaggerate Master Ying's superb piano skills. Ice and charcoal are not the same furnace, but Master Ying's piano music can lead people to a paradise of joy at one moment, and throw people into a hell of misery at the same time. It is like throwing charcoal into the listener's chest at the same time, making people unable to withstand this kind of emotional torment. Violent fluctuations.

The realm of music is, first, the realm within the music, the musical world composed of the sounds and rhythms of the music; the first is the realm outside the music, that is, the reaction of the music to the listener's own feelings. The two complement each other, making the artistic conception of the poem profound and meaningful. Poets use a variety of expression techniques to transform the sounds of nature and create the best songs in the world, creating a world of music that touches our hearts. Let us walk into the music in ancient poetry and feel its infinite charm together.