中国古人在形容美好的音乐时往往妙用修辞,只形容音乐在内心回响的“余音”就有不同的笔触。如“余音绕梁,三日不绝。”(《列子·汤问》),“如怨如慕,如诉如泣,余音袅袅,不绝如缕。”(宋·苏轼),“曲罢不知人在否,余音嘹亮尚飘空。”(唐·赵嘏)。由此可见,美妙的音乐既能感心动耳,又能荡气回肠,而欣赏音乐也便成了人类生活中极其快乐的事。在音乐欣赏教学中普遍认同的方法是:介绍作品的时代背景、作者生平和作品蕴涵的思想主题、引导听者产生某种联想。然而,仅用文字语言来解释音乐并不能在不同的欣赏个体中产生完全的认同,也不能表达出音乐的实际内涵。用音乐的语言来解释音乐,将音乐的构成作为音乐欣赏 Chinese ancient people often use wonderful rhetoric when describing beautiful music, and only describe that the music ’s “reverberation” has different strokes. “(” Lie Zi Tang asked “), ” as grievances, such as the lawsuit weeps, the remaining sound curl, inexhaustible. “(Song Su Shi), ”I do not know if the song is over, the reverberation is still empty." (Tang Zhao 嘏). Thus it can be seen that beautiful music can not only feel the heart and soul, but also enjoy the music has become extremely happy thing in human life. Music appreciation teaching is generally recognized in the method is: introduce the background of the work of the times, the author’s life and works contain the theme of thought, guide listeners to produce some kind of association. However, the mere interpretation of music by written language does not produce complete identity among different appreciating individuals, nor can it express the actual connotation of music. Interpretation of music in the language of music, the composition of music as music appreciation