《吟香堂曲譜》為清乾隆54年（1789）蘇州曲家馮起鳳刊行之崑曲譜，收錄全本《牡丹亭》及《長生殿》；關於該譜之研究，前賢著墨甚罕，本文意欲填補此一曲譜發展之空缺，故分析體例及記譜等，論馮譜之編輯意識，再與同時同地刊行之葉堂《納書楹曲譜》系列相較，論馮譜之訂譜流傳。綜觀馮譜之體例及編輯意識，有以下三項開創意義：其一，以首度刊行之《牡丹亭》及《長生殿》全本崑曲工尺譜，開創南曲套式譜例，提供數十套《九宮大成譜》未載之南套曲譜。其二，創設以戲曲工尺譜結合曲牌格律譜之譜式，雖然本質為崑曲工尺譜，但訂譜時往往以合律為優先考量，並區分正、附譜。其三，詳細記寫唱腔，包括潤腔唱法及精細表達時值，透過馮起鳳較詳盡之記譜，可追想部份乾隆時期的潤腔口法，提示崑曲腔格發展的歷史軌跡。雖然馮譜詳細記寫唱腔，但由於對曲律之追摹，唱腔多與通行譜不同，又未能扭轉時俗，遂削弱其於崑曲演唱之實用性；再者，不論就曲家名氣、收錄內容、流播影響等，馮起鳳《吟香堂曲譜》皆難以與葉堂《納書楹曲譜》系列匹敵。即使馮譜流傳未廣，在曲譜發展史上仍有文獻價值及開創意義，且部分標註方式仍被現代曲家繼承。

”Yin Hsiang Tang Scores”, published in 1789 by Chi-Feng Feng, a Kunqu master in Suchou, included the first published unabridged edition of two important Kunqu Opera scores: ”The Peony Pavilion” and ”The Palace of Eternal Youth”. When examining Feng's scores, there appear to be three pioneering features based on the stylistic rules and his editing consciousness. First, he created score cases of nanchu (literally ”Southern Songs”, 南曲), providing dozens of sets not recorded in ”Chiu Kung Ta Cheng Scores”. Secondly, he created a new score style that integrated melody with rules of tunes; when composing music, the priority was often to comply with the rules of tunes. Thirdly, he recorded the singing in detail, including retouching melody and a more accurate account of the musical notes. Although Feng's fame, the contents of ”Yin Hsiang Tang Scores”, and his influence could not compete with ”Na Shu Ying Scores”, published in 1792 by Tang Yeh, Feng's ”Scores” is still significant in the literature and phylogeny of the score.