Genre of poetry tsy It was especially common during the Song Dynasty (960-1279), but it also existed later, and was used to create a song based on another melody (in Western culture, it corresponds to the practice of creating a song based on another melody, in other words, performed "to the tune"). In this genre, text and music are almost equal. But if the poems themselves were recorded and preserved in China through poetry anthologies or collections of poets, 2 the music of these song motifs was lost, although sometimes it was passed down from teacher to student, often exclusively as a melody without poetic accompaniment. In the genre of tsy, the basis is music, which gives rise to a wide variety of poetic compositions. The purpose of this article is to study the relationship between text and music in works of this genre, in order to identify the extent to which intergenre coherence is manifested and how it can affect the aesthetic assessment of a poetic work. Keywords: coherence, song poetry, music, tablature, Tao, Song Dynasty, Lu Yu, Xin Qiji. FROM PHONEME TO CONTEXT In Chinese, it is often impossible to determine by ear the meaning of an isolated word in oral speech, since there are numerous homophones in the same tone: only the zhi sound has 48 different meanings. It becomes necessary to repeat aloud a phrase or even a whole phrase, so that each individual term gets a clear meaning, depending on the context. In this language, each pronunciation, each sound corresponds to a certain number of characters that are differentiated in the letter and have a different meaning. If some of them are partial homophones (the tone allows you to distinguish them by ear), then others are full homophones: you need to see the hieroglyph to understand its meaning. This shows the special significance of writing in China. Writing a hieroglyph clarifies its meaning, but not always: a hieroglyph can have a different meaning if it is pronounced and written the same way. In this case, ... Read more