By examining the historical development of common structural patterns of Song-dynasty Ci tune词调 and the inheritance of tune-form conventions， we find that Jiang Kui’s姜夔 emphasis on the distinctive features of his self-composed melodies in the preface to

Changtingyuan man

长亭怨慢 reflects the limitations of his era's perspective. His views， though seemingly unconventional， in fact represent a critical reflection preceding a return to prevailing trends. The concept of “freely composing lin

es of varying lengths” essentially embodies the principle of “acting according to one’s will without overstepping proper boundaries”， which largely inherited and vigorously promoted the popularity and evolution of the long-form verse structure. Jiang Kui’s experimentation with “significant variations between the two stanzas” achieved innovation through a return to antiquity， ultimately promoting the trend toward overlapping-stanza forms叠片体. Prosody encompasses both linguistic and musical sound， corresponding respectively to verbal rhythm and musical rhythm. A comparison of Jiang Kui’s musical notation and metrical patterns reveals that while verbal rhythm follows relatively fixed conventions， musical rhythm does not.What dominates the established pattern of Ci tune is verbal rhythm， rather than musical rhythm or the way of coordinating text and melody.