自1987年呂錘寬於《泉州弦管（南管）指譜叢編》一書中首次發表關於套曲（散套）的相關研究之後，直至2001年，才又有蔡郁琳〈南管「散套」曲目研究－以郭炳南蒐藏的手抄本為主〉一文，專文討論套曲（散套）。對多數南管樂人及研究者而言，套曲以四人或五人輪流演唱的方式，以及以相同主題貫穿整套等形式，實具相當之特殊性。 本文嘗試從現存曲簿資料以及曲詞結構和音樂旋律的分析比較，瞭解《黑麻序套》曲詞內容、形式結構，與【黑麻序】、【漿水令】兩個牌名的旋律特性。

Tauqu, one kind of nankuan music is different to zh (指), qu (曲) and pu (譜). Most of nankuan players have never seen the performance of tauqu in their lives. Moreover, most of them never heard the name of tauqu before. Tququ is only fund in seldom nankuan transcripts nowadays. According to nankuan trabscruotsm each tauqu has a series of songs and it is sung by four or five person by turns. “Hei-ma-xu tau” (黑麻序套), one suit of tauqu includes two kind of qu-pai, hei-ma-xu (黑麻序) and jiang-shui-ling(漿水令). Through the analysis of melody and lyrics, it can tell the forms of Chinese qu-pai(曲牌) music are reserved in nankuan. Besides, the characteristic phrases of he-ma-xu and jiang-shui-ling are picked by the analysis.