唐代的詩與樂往往是分不開的，唐代的許多詩是為歌詩傳唱而作。關於唐代「大曲」，本是融合歌、舞與器樂為一體，於整體樂曲中連續表演的一種歌舞藝術。《敦煌曲譜》本有二十五首，它可視為一由各首短曲聯綴組成的唐大曲，其中〈慢曲子伊州〉與〈伊州〉二首為大曲之摘遍，將其搭配聲詩予以演唱，其特色如下：第一，〈伊州〉所配之歌辭，它是根據「選詞以配樂」而創作，當時演唱常將其中某些詩句再三疊唱，因而又稱《陽關三疊》；第二，二曲中常有節拍轉換的情形，這本是隨著詩歌聲情的變化而有所調整，因此，詩歌與音樂節拍的相互配合下，可視為散板而自由的樂曲；第三，二首曲與辭皆為一字一音稍帶著自由的節奏，使得旋律至此更為緊湊與密合；第四，韻母本來就決定著聲音的響度，「明母音」與「暗母音」參差錯落的排列方式，實恰為詩歌音韻的主要呈現；最後，用韻方式、韻腳與平仄聲的掌握，亦將詩歌的原意內容，加以發揮。由此可見，聲詩與樂曲之間本存在著一定的相互關係。

The poetry in the Tang Dynasty tended to be inseparable from music and many poems in the Tang Dynasty were written in order to sing them as songs. Regarding "major musical" in the Tang Dynasty, it is the combination of songs, dances, and musical instruments and is a kind of continuous performance of songs and dances in the entire music. "Dunhuang Tablature" originally contained 25 tunes and could be viewed as a Tang major musical composed of many short tunes. Among the short tunes, "Slow Tune Yizhou" and "Yizhou" were the theme extracts of the major musical and were performed with together with music and poems. Their characteristics are as follows. First, the lyrics of "Yizhou" were created according to the idea of "selecting lyrics that match with the music." At that time, when the lyrics were sung, certain refrains tended to be sung repeatedly. Therefore, it was also called "a parting tune with a thrice repeated refrain." Second, the circumstance of beat conversion tended to occur in the two songs and the purpose was to adjust the songs based on the change in the emotion and feeling of the poem. Third, the tempo of both the tunes and lyrics of the two songs was free, which made the melody more compact. Fourth, the vowel decided the loudness of the sound. The rhythm of songs was mainly presented by the irregular arrangement of "bright vowel" and "dark vowel." Lastly, as for the method for choosing the rhyme, the selection of rhyming words and tone patterns also brought the original meaning and content of the poetry into full play. It could be inferred that there was a close relationship between poetry and music.