《牡丹亭》与长篇叙事山歌《五姑娘》分别属于昆曲和芦墟山歌。昆曲与芦墟山歌都是苏州地区传统艺术。由于两者的艺术追求不同,使得两者之间又有一些不同之处。昆曲最初是昆山一带民间流行的南戏清唱腔调,仅局限于昆山、苏州一带,影响范围狭小。在明代嘉靖以前,昆山腔也与其它南戏声腔一样,采用方言土语演唱。明嘉靖、隆庆年间著名歌唱家兼作曲家魏良辅来到昆山,他发现昆山腔很有特点,便决心予以改革。魏良辅原是个北曲清唱家,到吴中后,致力于南曲。他非常讲究唱法上的吐字、过腔、收音。他以原昆山腔为基础,参考海盐、余姚等腔的 “Peony Pavilion” and the long narrative folk song “Five Girls” belong to Kunqu Opera and Lu Hui folk songs. Kunqu Opera and Lu Hui folk songs are Suzhou traditional arts. Due to the different artistic pursuit of the two, there are some differences between the two. Kunqu Opera was originally a popular South Opera opera in Kunshan, only confined to Kunshan and Suzhou, affecting a small area. Before the Jiajing in the Ming Dynasty, Kunshan cavities were also sung in dialect and native languages ​​in the same way as the other South opera acoustics. Ming Jiajing, Longqing years famous singer and composer Wei Liangfu came to Kunshan, he found that Kunshan cavity is very characteristic, they determined to be reformed. Wei Liang Fu was originally a singer of North Qu, to Wu Zhong, committed to the South song. He is very particular about singing style, over the cavity, radio. He based on the original Kunshan cavity, reference sea salt, Yuyao cavities