20世纪80年代以来汉语新诗的声音问题一直是诗学的热议话题。声音最初指的是诗歌的音乐属性，但由于音乐本身并不是诗歌，而音乐性也不能嚢括当下汉语新诗的美学特征。因此，采用声音一词更具有效性。此外，音与声存在着差异，指向同一个问题的不同层面。音在诗歌中主要指的是与音乐相关的规律，以书面的语言文字为主，声偏重于通过音乐伴奏形式或者其他口头方式产生的综合效果。本书以20世纪80年代以来的汉语新诗为研究对象，从多维度对汉语新诗的声音问题展开研究。本书共分五章，立足于20世纪80年代以来汉语新诗的文本细读，综合文学史、文化史和语言学等研究，在展现20世纪80年代以来汉语新诗中声音的丰富性同时，也尝试为汉语新诗的声音研究开拓新的研究路径。

Since the 80s of the 20th century, the sound of new Chinese poetry has been a hot topic in poetics. Sound originally referred to the musical attributes of poetry, but because music itself is not poetry, musicality cannot include the aesthetic characteristics of current Chinese new poetry. Therefore, adopting the term sound is more effective. In addition, there are differences between sounds and sounds, pointing to different levels of the same problem. In poetry, sound mainly refers to the laws related to music, mainly written language, and sound focuses on the comprehensive effect produced by musical accompaniment or other oral means. This book takes the new Chinese poetry since the 80s of the 20th century as the research object, and studies the sound of Chinese new poetry from multiple dimensions. This book is divided into five chapters, based on the close reading of the text of new Chinese poetry since the 80s of the 20th century, and integrates the research of literary history, cultural history and linguistics, while showing the richness of sound in Chinese new poetry since the 80s of the 20th century, it also tries to open up a new research path for the sound research of Chinese new poetry.（AI翻译）

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