明．沈寵綏《度曲須知》與王世貞《曲藻》等，即言「曲為詩歌」支流。散曲有南、北之分，二者音調、意境、文字表現各異；南曲起源早卻盛行於明代，北曲則為元代文學主流。 據散曲發展論，由元曲至明曲的發展過渡期，曲家作品時可見「南北曲合套」「清麗與豪放」「婉約與通俗」等創作特色並備。其中尤以「崑曲流行以前」(案：以嘉靖、隆慶年間為界，本文以成化、弘治、正德時期為論)的陳鐸為最。徐渭《南詞敘錄》推其為「北曲名家」；而沈德符《顧曲雜言》則以「南詞宗匠」稱之，足見其南北曲兼擅之特點。再者，本論文擬針對陳鐸散曲加以論析，歸納其創作特點與趨向。針對其散曲創作，是否具「上承下啟」地位，加以探討論述。

Ming Dynasty Shen choong suei "Duh Chui Shiu Jy" and Wang ShiZhen" Chiu Tzao", etc., namely speech' the song is the poem' the tributary. non-dramatic song has the differences of the south, the north, the two tone, artistic conception, characters behave differently; The origin of the south song is early but prevailed on the Ming Dynasty, Northern Opera was a literature mainstream of Yuan Dynasty. Develop the theory according to the non-dramatic song, from yuans of song to Ming trasition period such as development in song, house Qu can see 'north and south song equal to sets of "lucid and elegant and bold and unconstrained" graceful and restrained and polular' create characteristic and fully at the works. Whether among them particularly so as to 'the kunqu opera prevailed in the past' (Attetion: As the circle with Jiajing, Long Chinq, this text regards Cherng Huah, Hong Jyh, Jenq Der period as the theory) Chen Duo top. Xu Wei "Nan Tsyr Shiuh Lu" push away their' north word classic'; Shen Der Fwu with and "Guh Chiu Tzar Yan" to call it with 'the south word great master', it serves to show its north and south and concurrently characteristic done on one's own authority. Moreover, this thesis plans to talk about analysing to Chen Duo non-dramatic song, sum ip it and creat the characteristic and tend to. Create to its non-dramatic song, it have 'on bear not downing not opening' position, it probe into it describe.