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魏良辅采用顾坚创立的清唱昆山腔的演唱形式对南戏昆山腔作了改革,改变了早期南戏唱腔因采用昆山方言和依腔传字的演唱形式而造成的“平直无意致”的缺陷,具有了细腻婉转的风格,有了“水磨腔”之美称。但魏良辅的改革也带来了两个弊端:一是南北曲同遵中原音为标准字声,消弱了南曲的特征;二是依字声定腔后,重字声而轻句式,故造成了句式的不稳定,使得曲调原有的腔格出现了变异。明清曲律家们在推崇魏良辅的新昆山腔的同时,也从不同的方面对魏良辅改革昆山腔后出现的这些弊端作了矫正,对新昆山腔作了完善。
Wei Liangfu made use of the singing form of Guksan Kunshan cavalry founded by Gu Jian to reform Kunshancun of South Opera and changed the defect of “straight and unintentional” caused by the singing form of Kunshan dialect and the ancient Chinese characters , With a delicate and tactful style, with “water mill cavity ” reputation. However, the reform of Wei Liang Fu also brought two drawbacks: First, North and South song with Zunzhong as the standard pronunciation, weakening the characteristics of the Southern Song; Second, according to the word after the cavity, heavy word and soft sentence, Therefore, the instability caused by the sentence, making the tunes of the original cavity has a mutation. While promoting the new Kunshan cavity of Wei Liangfu in the Ming and Qing Dynasties, the music lawyers of the Ming and Qing Dynasties rectified these defects of Wei Liangfu after the reform of Kunshan cavity and improved the new Kunshan cavity from different aspects.