蘇萬松（1899-1961），苗栗縣人，日治時期替藥商賣藥宣傳至各地走唱，以小提琴自拉自唱其創作之「勸世文」，因演唱風格特殊，風靡一時，古倫美亞唱片公司乃為其灌錄唱片發行。後人稱其所創作之「勸世文」曲調為「蘇萬松調」，演唱內容以勸人為善、醒世的「勸世文」為主，獨樹一格的唱腔至今仍成為民間藝人爭相模仿的演唱對象。本文利用搜集自日治時期到台灣光復後的有聲資料並輔以文史資料與藝人訪談，透過採譜分析，希冀深入了解蘇萬松的唱腔音樂。研究結果顯示，蘇萬松的「勸世文」分為兩個部分，前段為「雜唸子頭」，後段為「雜唸子」。「雜唸子頭」的旋律性較強，音樂內容豐富，且蘇氏比較著重在唱腔的經營上；「雜唸子」是唸誦性質的曲調，著重內容的唸誦，本文將以前者為探討重心。透過有聲資料的採譜比對與分析，可得知其唱腔音樂的特徵並了解在不同階段其音樂內容上的變化，特別是與當時流行於民間的客家採茶戲曲唱腔，有著密不可分的關係。

　　　　　Mr. Wan-Sung Su (1899-1961), a famous Hakka folk singer during Japanese occupation era, was born in Miaoli, Taiwan. Su's performances were featured by his own composition and accompanied by his own violin playing. Among his compositions, the most well-known type of tunes was the “Kien Sii Vun”, with lyrics to exhort to reformation and to urge to virtue. Su was so popular then that the Columbia Record Company made a number of phonograph records for him. This paper presents the study of Su's music. Su's phonograph records were carefully listened and the music notes were transcribed. We also visited other existing Hakka opera performers and surveyed the related literatures. Our research results showed that Su's "Kien Sii Vun" consists two parts, namely, the “cap ngiam me teu” followed by the “cap ngiam me”. The first half has much more melodic features, and the latter half emphasizes intoned lyrics. Our research will be focused on the “cap ngiam me teu”. Through the investigation and analysis of the transcription of Su's music notes, we realized his special music features and found out how the changes underwent during various periods. Our research results also indicated that the changing of Su's music style was closely related to the concurrent popular Hakka opera.