歌子戲發展有百餘年歷史，臺灣已將此項表演藝術納入正規教育。十八年來的歌子戲正規教育，已為本地培養出一批新的歌子戲生力軍，歌子戲人才之養成，似無斷層之虞。然，正規歌子戲教育培養之人才，對於民間歌子戲劇團之需求，尚有所差距；究其中因素，最大關鍵在於歌子戲的唱腔問題。歌子戲是臺灣傳統地方戲曲劇種之一，與其他戲曲同屬綜合性的傳統表演藝術；四功、五法1之中，尤以唱工為首要技藝。而，凡是唱工，必須達到「珠圓玉潤」的境界。2歌子戲的唱工，乃以人的口腔運轉閩南語語言旋律的基本功夫；這些基本功夫，也就是歌唱者運轉腔調的方法，也就是前述所謂的唱腔。相較於昔日口耳相傳的師徒制傳承，今日的歌子戲教育已大大不同於以往；本文進行歌子戲教育根本問題之探討，最終仍歸咎於唱腔教學。

Ge Zi Xi, a kind of performance art that has over a hundred years of history, and has been part of the formal educational curriculum for eighteen years in Taiwan. However, the cultivation of Ge Zi Xi performers seems to be short in number for local performing groups. The main problem lies in the education of its vocal performance. As with other traditional folk performances, Ge Zi Xi is an integrated performing art, which means it consists of four kinds of performing skills as well as five types of body movement. Among these skills, vocal performance, which is concerned with the manner of singing tunes and ways to manipulate intonation, plays the most crucial role for a professional Ge Zi Xi performer. This performer is also required to master the Min Nan language and its linguistic intonations in order to coordinate this aspect with the song’s melody. Currently the education of vocal performance for a Ge Zi Xi performer is far removed from that in older times, where the education process was conducted specifically between one master and one learner. The educational changes of Ge Zi Xi have caused problems for the cultivation of performers. The research in this study indicates some issues and provides suggestions for future Ge Zi Xi education.