Apart from its shallow poetic imagery due to the vernacular and transparent language, a main reason why the New Poetry has been widely criticized since the May 4^th Movement lies in the lack of musicality, more obvious when compared with Chinese classical poetry. But Xu Zhimo is an exception in that he made some effective and innovative transformation of the musicality of the poetry both at home and abroad by means of an integration of reading, translation and writing. It is therefore argued that musicality has characterized the most important features of his poetry, which is most obviously manifested as recapitulation of the art of music mainly including full recapitulation, partial recapitulation, variant recapitulation and their synthetic application. This paper tends to elaborate on the origin of his musicality and musical poetics based on the practical interpretation of various examples, and consequently to verify and rethink the musicality of the New Poetry in a world context of musical poetry. To summarize, Xu Zhimo facilitated an essential return of the literariness and musicality of the New Poetry, which well deserves his followers' succeeding and carrying forward.