本文根據何育齋《漢皋舊譜》所載之工尺諧聲譜進行串調箏曲之研究，探討客家箏樂小曲的歷史淵源，並分析樂曲內容及其演奏特色。研究發現串調箏曲的流播來源豐富，內容多元，反映了中原音樂之南遷歷史，蘊含明清俗曲之遺存，又融合粵東地區小調以及中軍班音樂、佛曲等等因素，形成眾多的曲目。原在漢樂體系中發展傳衍的各種長短不一、格式不拘的樂曲，後來被漢劇吸收作為過串演出，由器樂過渡至戲曲音樂，將部分漢樂小曲應用在漢劇的演出程序中，得名串調。過去在漢樂環境裡以眾多樂器合樂演奏的漢樂串調小曲，透過古箏藝人的編寫記譜，許多單曲已獨立而為古箏演奏，形成箏樂化的樂彙表現。以右手「托、抹、勾、撮」，以及左手「吟、猱、滑、按」等技法演繹串調，反映了各種曲趣，展現屬於古箏音樂的清雅韻致，此為串調樂曲的另一種再生，精緻了串調樂曲的內容，擴展了串調樂曲的表演形式。

This article focuses on chuandiao, a kind of guzheng (plucked string zither) music of the Hakka people, and investigates its origin and content. Using the Han Gao Ancient Notation by Ho Yuzhai as my primary data for analysis, I argue that chuandiao originated from various sources, including ditties from Ming and Qing dynasties, folk songs from eastern Guangdong province, and some Buddhist tunes, thus reflecting the southward migration history of central plains' music. These instrumental pieces of various length and format first circulated in the hanyue music system popular in the eastern Guangdong province and were later absorbed into hanju operatic music to function as intermezzo, referred to as chuandiao. Zheng performers rearranged chuandiao into zheng solo pieces and utilize a combination of techniques in order to demonstrate their different styles and nuances. With zheng as a new vehicle, chuandiao was invigorated, its substance further refined, and more ways of performance have been developed.