院士曾永義的《霸王虞姬》劇本，在2013年由榮興客家採茶劇團於國家戲劇院演出。此劇以四縣腔客家話為主要唱唸語言，音樂曲調則諸腔並用，包括採茶戲、歌仔戲、京劇與亂彈戲等聲腔劇種的曲調（腔）。標榜「客家大戲」的《霸王虞姬》可說是當代客家採茶戲音樂發展的縮影，「多聲腔（腔調）」的運用與其技法，印證採茶戲早已跳脫三腳採茶戲樸素樣態，展現更為複雜、更具藝術質性的建制化歷程，並朝體系（化）發展。藉著「音樂結構」角度分析，本文提出：《霸王虞姬》的音樂不僅有「跨劇種聲腔」實驗意義，其曲腔運用和人物、劇情所共構的音樂戲劇結構，劇中角色有更深層的文化意涵與象徵性。解讀各幕次之腔調結構組成，可見知音樂體現了《霸王虞姬》眾位主角的文學想像，而看似創新的「實驗」之舉，卻是當代採茶戲曲創作者堅守戲曲傳統，並從中翻生趨向體系化藝術新域的行動。

In recent productions of Hakka opera, music has played a more prominent role. Shaped by the creativity of writers and music designers, music in contemporary productions of Hakka opera is used not only for plot development but also to complement other expressive forms and create connotative meanings in the performance. This paper analyzes the design of music in Rom Shing Hakka Opera Troupe's rendition of Yung-Yi Tseng's script for Warlord and Lady Yu, which incorporates multiple styles and was intended to be experimental. It argues that music design advanced the artistry of this production by endowing the characters with more nuanced and profound cultural and symbolic meanings.