湖广音是创造流派的手段如果说,方言是民歌之依附的话,那么各地音韵就是某些京剧流派的内核。流派唱腔音韵结构之不同,造成了演唱风貌之各异。如在老谭的基础上,马连良减轻湖广音加进京音,言菊朋则加强加重甚至拘泥于湖广音,这就使马派、言派各自有了行腔的依据。周信芳是在湖广音的基础上除加进京音外,还加进了徽音和吴音,我们听他《徐策跑城》《斩经堂》里的〔高拨子〕唱段,许多地方恰是安徽口语的音乐化,并为许多入声字恢复了短促读法。周信芳在音韵上的特殊结构,是使得麒派唱腔风格独具的因素之一。运用湖广音作为创造流派的手段,旦行中数程砚秋为最典型。在程砚秋艺术成熟之前,梅派己经风靡海内了。程砚秋另辟蹊径,一反旦行以字就腔的传统,以湖广音为圭臬来以腔就字,这样,他就以旦行中独一无二的音韵结构,形成了程派的一个鲜明特色。如:《坐宫》开头一句,梅把“芍药”二字高唱,程砚秋 Lake Cantonese is the means to create genres If we say that dialects are attached to folk songs, then phonology is the core of some schools of Peking opera. Different genres of singing rhyme structure, resulting in different singing styles. For example, on the basis of Laotan, Ma Lianliang relieved Hu Guangyin from adding Jingyin, while Yan Jupeng stepped up aggravating or even rigidly adhered to Hu Guangyin, which made the Mafia and Yanpai each have their own basis. Zhou Xinfang is based on the lake Cantonese sound addition to the addition of Jingyin, but also added Huiyin and Wuyin, we listen to him “Xu strategy city” “Zengjingtang” in the [high pitch] aria, in many places just Is the musicalization of Anhui colloquialism, and has resumed the short reading for many entering words. The special structure of Zhou Xinfang on phonology is one of the unique factors that make Qi’s singing style unique. The use of Lake Cantonese as a means to create genres, once the line number Cheng Yanqiu the most typical. Before Cheng Yanqiu art matures, Mei school has swept the sea. Cheng Yanqiu another way, an anti-denial of the word on the cavity of the tradition of Lake Cantonese tone to the word, so that he once line in the unique phonological structure, forming a distinct characteristic of Cheng school. Such as: “Palace” at the beginning of a sentence, Mei “Peony” sang, Cheng Yanqiu