宋代詞調淵源於唐代的樂曲，多係先有曲，然後按曲制詞，北宋以後又有詞家自創的詞曲，所以每一首詞都應有一個樂譜，而每一樂譜又有一定的旋律及節奏，即為「詞調」，如〈如夢令〉、〈浣溪沙〉、〈清平樂〉。 李清照的詞在《全宋詞》裡所收錄的共有四十七首，另易安〈詞論〉中提出鋪敘、典重、情致、故實四目，而以「倚聲」需神明變化於四者之中，又〈詞論〉云：「蓋詩文分平側，而歌詞分五音，又分五聲，又分六律，又分清濁輕重。」申明「詞別是一家」的主張外，見諸易安詞之於聲律要求上是相當嚴謹精細的。 本文係以語料的表列分析為主要研究方法，將李清照之詞作〈如夢令〉、〈浣溪沙〉、〈菩薩蠻〉、〈點絳唇〉選出十一首詞文抄列，依序翻查每一字的反切、聲母、清濁、韻母、平上去入，列表呈現，再從中分析作者於詞的韻律中類疊、頂針、對仗，乃至其他手法的運用，以及整首詞於用字的律動及節奏，藉此探究作者在聲律上的特殊成就。

The tunes used in “Song Lyrics” originated in Tang Dynasty music. Most of them started as melodies with lyrics being added later. After The North Song Dynasty, some poets started to create their own lyrics and melodies; creating lyrics that corresponded to melody. Each score would have a distinctive rhythm and tune. This is called “Lyric Tune”. Examples include the Ru Meng Ling, Wan Xi Sha and Qing Ping Yue There are 47 pieces of Li Qing-Zhao’s work collected in “The Full collection of Song Lyrics” - an affirmation in “Lyric Theory”, which addressed four items: Narrative, Allusion, Lyricism and Gest. These she used to fill in her lyrics in a miraculous way. Furthermore, it was also said in Ci Lun, “There were even and oblique tones in lyrics rhymes and the lyrics contained 5 tones, 5 pitches, 6 rhymes, aspirated and exasperated tones, and light and stress tones”. Therefore we can see Li Qing-Zhao was very precise and dedicated in her creations. Using current resources as a basis, this thesis will select and analyze the most exposed works from Li Qing-Zhao, 11 pieces in total. It will break down all the lyric content, then check through each word and analyze its categorization such as Fan Chie, consonant, devoiced and voiced, vowels, rising and departing tones, departing and entering tones . The objective is to make a table presenting this clearly, and analyze how she used reduplicating and paralleling words to represent rhythm. Other methods will also be utilized. Thereby to observe the great achievements she made by analyzing the prosody and rhythms in her lyrics.