当魏良辅有意雅正新兴之南曲时,第一便是重溯南北声腔的演进史,也即对南北曲统的重构。与周德清不同,魏氏在《南词引正》中明确区分北传中州调与冀州调的不同,又添出南传古黄州调一支,道是北曲自以“中州”为正;论南曲,则弃“浙音”(海盐腔)而以“吴音”(昆山腔)为正。并道,古黄州调昉自东坡,昆山腔源自唐玄宗时黄幡绰与元末顾坚、杨维桢辈,这一续统意识正是对元末明初一以中原雅音为正的反驳,大抵自放于野,而独主性灵。从周氏到魏氏,其曲统说,从中原到中州,从浙音到吴音,其间种种变化直指元明文学重心从中原到东南的大变局,若追溯源始,更直指北宋灭亡以来种种音声的大变革。 When Wei Liangfu was interested in being a newly-born southern song, the first one was to trace the evolution history of northern and southern sound cavities, that is, the reconstruction of north and south Quotos. In contrast with Zhou Deqing, Wei’s distinction between “Northern Song Dynasty” and “Jizhou Zhou Dynasty” in Southern Song Dynasty leads to the transfer of “ Is positive; on the Southern Song, then discarded ”Zhejiang sound “ (Haiyan cavity) and ”Wu sound " (Kunshan cavity) is positive. And Road, the ancient state of Huang Tun tune from Dongpo, Kunshan cavity from Huang Xuanzong when Huang Xuanzuo and late Yuan Gu Jian, Yang Weizhen generation, this sense of continuity is exactly the late Yuan Dynasty to Central Plains Ya is The retort, probably put themselves in the wild, and the lordly spirit. From Zhou’s family to Wei’s family, the Quotas say that from Central Plains to Zhongzhou and from Zheyin to Wuyin, all the changes in this period are directed at the great changes in the focus of the Yuan and Ming literature from the Central Plains to the southeast. Since the perdition of a variety of sound big change.