本文以目前尚能演唱的細曲大牌曲目為研究對象，透過音樂形式及旋律結構之分析，來探究細曲大牌與崑曲二者間的關係。首先，藉由兩者間具有相同標題及相近曲辭之曲目，進行音樂方面的比較。從文中【蕭何月下追韓信】、〈六月飛霜〉【大牌】、與〈迫休〉【大牌】三例之分析結果來看，崑曲，亦或更確切地說是南北曲，的確與這類曲目存在某種親緣上的關係。再者，透過分析幾首以北曲曲牌【雁兒落】為名之大牌樂曲，瞭解大牌音樂是如何將這個特定曲牌運用其中，並產生何種變化。最後，經由分析歸納出大牌常見的樂曲形式，從中可見南北曲與明清時期已普遍流行的俗曲，都是構成細曲大牌之部份來源。

This article focuses on those dapai (large labeled tunes) of beiguan iu- hiek (refined songs) which still can be sung. Analysis of music forms and melodic structures were used to detect relationship between dapai and kunqu. First, we make use of the songs, which derive respectively from dapai and kunqu, with the same title or similar text to carry on the compare of their melodies. So far as the result analyzed from the three pieces of dapai in this article, we can find dapai and kunqu, or say more exactly to is nanbeiqu (southern songs and northern songs), existing a certain relative relation. Furthermore, by analyzing some pieces of dapai, all of which have the same title ‘yanerluo’(雁兒落, one labeled tune of beiqu ), we can realize how the specific labeled tune had been applied and what variations had been generated in dapai music. At last, to conclude some familiar forms by means of analyzing many pieces of dapai, we can certificate that nanbeiqu and mingqing suqu (folk tunes in Ming and Qing China) are all some source of dapai.