As a matter of fact， the fashion of revising music book gradually emerged from Xiaozong Emperor to Guangzong Emperor and approached a climax during Lizong Emperor to Duzong Emperor in South Song Dynasty. For example， it is definite that in 1183 A.D.， as was recorded by the privately compiled history of Song Dynasty， Shi Hao， a retired Premier settling down in Mingzhou County， deputed his sons and nephews to revise the old music book， and assigned Zhou Zhu， his wife's nephew， to compile the Qingzhenpu， a music book for the collection of Ci-poetry of Zhou Bangyan， his great-grandfather. Shortly afterwards， Zhang Zi devoted most of his time to revising music book， as a nobility settling down in Lin' an County， the capital of South Song Dynasty. From 1194 to 1201， Jiang Kui， as a houst-guest， tutor and friend of Zhang Zi's family， finished two pieces of music about ″Jiaozhao″ and ″Zhengzhao″， composing according to the musical style of Xingzaipu， a collection of old music books. From 1195 to 1204， Zhang Yan consigned his house-guests to compile new music book of Guqin（a plucked seven-string Chinese musical instrument）， by collating the Gepu， a music book collection of Dasheng Musical Ministry（DSMM）. During Lizong Emperor and Duzong Emperor， a tidal wave of literary association was actively started among the members of Yinshe（a literary group）， including Yang Zuan， Xu Yu， Mao Xun， Xu Li， Zhang Shu and so on. These literary associations were devoted to revising music book， the work of which can be devided into four periods namely from 1241 to 1252， in 1256， from 1259 to 1264 and after 1267. Essentially， revising music book was practised by a private group instead of by an official institution， and handled by the house-guests， instead of by the nobilities， which were serving as the leaders. The music books being revised were usually original pieces， some of which may come from Dasheng Qupu（DSMM's music ）book， but the origins of most of the pieces were concealed. However， revising music book produced a lasting effect on the rising of Elegant Ci-poets Group （ECG） in South Song Dynasty. Although the revisers of music book fixed their attention on the Dayue， the Guqinyue and the Shiyue， three names for the types of court music， but also invovled the music of Ci-poetry. For example， Shi Hao's family compiled the Qingzhenpu， Zhang Zi's family printed and published their collection of Ci-poetry with music book， Zhang Yan and his house-guests discussed about music of Ci-poetry， Yang Zuan compiled the Xiaweng Cipu（a music book of Ci-poetry named after Yang Zuan's esteemed name）and the Quanfa Zhou Meicheng Ci（a new Qingzhenpu）， and so on. With the spread of Qingzhenpu via the political power of Shi Hao's family over generations， the whole style of Ci-poets World had been made to change. Meanwhile， the Quanfa Zhou Meicheng Ci， not only consolidated the Ci-poetry reform achievement， but also ultimately helped to shape the ECG. In fact， it was the most important criterion for the ECG to write according to the music book， rather than according to the four tones of Ping， Shang， Qu， and Ru of ancient Chinese， as was misunderstood by contemporary scholars. Originally speaking， compiling new Music book on the basis of old music book， including Dasheng Qupu and Qingzhenpu， was the fundamental cause of ECG's rising. For example， it was nearly a general thing of the Yinshe to compose their Ci-poetry based on some given tunes of three music books， including Yang Zuan's Xiaweng Cipu， Zhang Shu's Jixianji（a music book of Ci-poetry followingZhang Shu's esteemed name），Wu Wenying's Shuanghuayu（a selections of Ci-poetry with music book named after Wu Wenying）， especially Yang Zuan's Quanfa Zhou Meicheng Ci， which was accepted as a prototype and regarded as a vital evidence of the beginning of the ECG. Moreover， it was by revising music book that many musicians and Ci-poets came together，for discussing how to compose their Ci-poetry with some given tunes， and gradually developed a literary formula describing how to practise writing， for which the Zuoci Wuyao（a book of guidelines for creating Ci-poetry）was createded by Yang Zuan， grounded on his Quanfa Zhou Meicheng Ci. Actually， the Zuoci Wuyao provided a summary of creating Ci-poetry's methods， which included four rules concerning the consonancy of music and Ci-poetry， such as ″ze qiang″（selecting the proper tunes）， ″ze lü″（selecting the proper mode）， ″tian ci an pu″（creating Ci-poetry based on music books） and ″sui lü ya yun″（correctly using the four tones）， and which presented the relationship between revising music book and creating Ci-poetry based on music books. Generally speaking， it was only the fifth rule of Zuoci Wuyao involving the Ci-poetry's content， which briefly described how to design and organize their writings， and which indicated that the Yinshe laid special stress on the musical form and relatively neglected its content. With development of the ECG for decades， the successors attached greater importance to writing technique and style of Ci-poetry， rather than stressed importance of revising music book. Hence the connection between Ci-poetry and music book had gradually been weakened.