20世纪参与粤乐演奏的乐器、风格经历了巨大的变化。听早期的历史录音、查看文献,虽然给当代听众第一印象往往不太理想,如:音准、节奏、速度等精准度均大大低于今天的普遍标准。但从另外一个方面来说,可以让我们清楚的了解到当时吕文成先生改革二胡那清脆、华丽之声以及小提琴、萨克斯、架子鼓、小号等据说使用过多大41种西洋乐器在粤乐演奏中的参演新象。本文主要通过对20世纪参与粤乐演奏乐器的追踪、分析对比,并结合笙在粤乐史相关文献中的记载,从科学和传统两方面来阐述笙的发音特色与传统粤乐结合中的构思取舍定位提供参考。 The twentieth-century musical instruments that have been involved in Cantonese opera have undergone tremendous changes. Listen to early historical recordings and review the literature, although first impressions of contemporary audiences tend to be less than ideal, such as pitch, tempo, and speed, all of which are far below today’s common standards. On the other hand, we can clearly understand that at the time, Mr Lv Wencheng was about to reform the crisp and gorgeous voices of Erhu and how many of the 41 Western instruments played by violins, saxophones, drums and trumpets were said to have played in Cantonese opera In the participating new role. In this paper, we mainly analyze the tracing, analysis and comparison of musical instruments played by Guangdong music in the 20th century. Combining with the records of Sheng in the related literature of the history of Cantonese music and music, we explain the combination of Sheng’s pronunciation features and the traditional Cantonese- Choose to provide a reference positioning.