The criterion of “singability” and “recitability” in poetry evaluation finds its roots in China’s ancient musical culture tradition. In the pre-Qin period (prior to 221 BC), it was said that “all ancient poems were sung.” Thus, being “singable” and “recitable” became the inherent attributes and the “meta-essence” of poetry. As poetry transitioned to a medium of written communication, the practice of being “collected into Yuefu (music conservatory)” during the Tang dynasty stimulated the emergence of “singabilility" and “recitability” as evaluation standards for poetry. Thematically, works deemed “singable” and “recitable” often exalted rulers’ virtues and achievements, depicted commendable social deeds, or presented thought-provoking ideas of profound significance. Stylistically, they typically took forms such as Gexing (chanting poetry), Lvshi (metrical poetry), Jueju (quatrains), and Saoti (poetry in the style of Lisao), characterized by plain language, graceful transitions, and a fresh yet subtly elegant style. By using “singability” and “recitability” as evaluation criteria, poetry criticism evolved into a dynamic process focusing on sound quality, orality, phonemic fluency, and the dissemination and reception of poetry. This critical discourse later extended to Ci and Qu poetry, wherein written forms aimed to achieve “singability” and “recitability.”