京劇老生譚鑫培所創造的譚派在二十世紀初期大為流行，成為北京票友爭相學習的目標，同時唱片科技開始傳入中國，這些譚派票友當中的佼佼者所錄製的老唱片，記錄了唱腔藝術由譚鑫培流傳為譚派的過程。本文透過老唱片，追溯這一批優秀譚票的各種資料，以期認識流派表演的發展與傳播。由於表演的可觀利潤，這批譚票大多下海成為演員，並且受到市場的歡迎，傳播過程大略有三階段： 1.譚鑫培召喚譚派戲迷， 2.譚票演員跑碼頭推廣譚派， 3.唱片科技又加速了此一傳播過程。因此譚派成為已知第一個透過唱片流行的傳統表演藝術，譚派風格也逐步成為最普遍的老生風格。譚票老唱片保留了許多譚鑫培中期的演唱風格，異於譚鑫培晚年所灌錄的唱片，對於研究流派的發展過程，提供了珍貴的史料。譚派票友也將譚派風格推廣到譚鑫培未曾表演過的劇目，無形中擴大了譚派的演出劇目。最後，這批北京票友，將京字京音用於京劇唱腔，導致下一代老生對音韻之學的講究。

Created by Xin-pei Tan, a Laosheng (elderly male actor) of Beijing opera, the Tan style performance art flourished in the early twentieth century and developed into the learning model of the amateur performers in Beijing. Meanwhile, the newly introduced record technology in China helped preserve the process of how Xin-pei Tan´s aria art grew from one man´s style into a school. The aim of the paper is to trace the development and spread of Beijing opera´s stylized performance through the study of old records made by the eminent Tan style amateur performers. Owing to the considerable profit potential, most of these amateurs later turned professional and achieved market success. There are roughly three phases of the Tan style´s spread: 1. Xin-pei Tan recruited his fans; 2. the amateurs circulated around the wharf for art promotion; 3. the record technology accelerated the popularization. Therefore, the Tan style is the first known traditional performance art which was popularized along with the distribution of the records, and is also the most common Laosheng style. These old records well preserve the singing style of Xinpei Tan´s middle period which differs from his late period, and thus become precious historical materials for the study of the formation of schools. Moreover, the amateurs together helped enlarge the repertoire of the Tan style songs that Xin-pei Tan had never sung. At last, the group of Beijing amateurs infused their Beijing accent into the aria art, which conduces to the attention in phonology of the next generation´s Laoshengs.