《清商三調》是曹魏時期清商署主要的歌曲， 本文從音樂的角度重新解讀三調歌曲，特別是透過對比同一曲調的不同歌辭，從音樂觀點復原其原始結構，在這種解讀下，許多自來不可解的歌辭逐漸豁然明朗。討論的例證包括平調〈長歌行〉、〈燕歌行〉；清調〈董逃行〉、〈秋胡行〉；瑟調〈豔歌何嘗行〉、〈步出夏門行〉等，筆者試圖證明，只有充分考慮音樂特性，才能透徹理解歌辭的結構和意義，同時進一步指出，若干歌辭甚至包含著戲劇的雛形，及男女唱和的表演形式，令人困擾的「拼揍性」現象在這觀點下也得到新的合理解釋。總之，這是一篇從音樂出發，扣緊詩歌本文（包括韻律、句法、結構、主題等），結合樂曲的表演形式所提出的新詮釋，在層層解讀下試圖逼近樂府詩的基本特性，開啟一條研究樂府詩的新進路。

　　　　　Qingshang Sandiao was the major musical composition performed in the yuefuchu, the palace music bureau, during the Wei dynasty. Different words of song have been composed for the above-mentioned musical composition. The focus of this paper is to re-interpret these words of song from a musical perspective. That is to say, we have to bear in mind that they are singable. By comparing different words of song of the same musical composition, this paper recovers the original structures of them. In the light of this new perspective, many of them, which were considered to be incomprehensible in the past, are now pretty clear. In this paper, different words of song including changgexing, yingexing, dongtuxing, qiuhuxing, yengehe-shangxing, buchuxiamenxing etc. have been treated. The author tries to point out that one can understand the meaning and structure of them only by taking a good consideration of their musical character. Moreover, these words of song have the primordial form of a drama, and different ways of performance such as antiphonal singing between male and female performers can also be found. All there 'piece together" phenomena, which seem to be puzzling, can now be reasonably explained from this new perspective.