川剧高腔曲牌繁多,就目前收集整理的数目看,共计三百七十多支。历年来的研究多着重于其内部差异的辨别、个性特征的显示。比如,曲牌分类工作的进行,只从局部着眼,可算是共性的认同(各类别内部主腔的近似);但从全局审视,仍然是个性的辨异(各类别间主腔的划分)。显然,在川剧高腔曲牌音乐统一风格的音乐形态学研究方面,尚是个薄弱环节,不利于我们对其整体风格的全面把握。一个剧种声腔,除了显示其丰富的内部个性差异外,也应具有其共性因素,以维系其整体风格的协调统一。共性因素的揭示,不但有助于全面认识与把握川剧高腔音乐的统一风格特征,对于其内部个性特征的准确辨认,更合理地进行曲牌分类以及曲牌创新,也将不无裨益。基于上述观点,我们对大量川剧高腔曲牌进行了归纳分析,发现除显示类别差异的主腔(本文拟 Sichuan Opera Highcourse song many, the current collection and finishing of the number of see, a total of more than three hundred and seventy. Over the years, many researches focus on the identification of internal differences and the display of individual characteristics. For example, the classification work of the Tunes, only from the local point of view, can be considered as a common identity (within each category of the main cavity of the approximation); but from a global perspective, it is still personality discrimination (division of the main cavity between the various categories). Obviously, it is still a weak link in the study of the music morphology of the uniform style of Sichuan Opera Tune Music, which is not conducive to our overall grasp of the overall style. In addition to showing its rich internal personality differences, a variety of opera soundtracks should also have their commonalities in order to maintain the harmony of their overall style. The reveal of common factors not only helps to fully understand and grasp the uniform style characteristics of Sichuan opera high cavalry music, but also can be helpful for the accurate identification of its internal personality traits, more reasonable classification of tunes, and innovation of tunes. Based on the above point of view, we conducted a large number of Sichuan opera high chamber tunes were summarized and found that in addition to show the main difference between the type of cavity