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沈宠绥是明代最重要的曲学理论家之一,是继魏良辅之后曲学发展史上又一个里程碑式的人物。平、上、去、入四声是汉语言独具的语音要素,自南朝沈约等人对四声加以总结以来,后世词曲家都对四声与歌唱的关系问题投以了相当的关注。沈宠绥在前人论述基础上结合自己的唱曲经验,在其著作《度曲须知》中详细分析了唱曲中平、上、去、入四种声调的具体唱法。他在这方面的探索和论述构建起了昆曲演唱中字音、口法的基本规范,一方面远绍曲圣魏良辅,一方面又对后世徐大椿等曲学家影响深远,不仅在当时,而且一直到现在,都对舞台上的戏曲演唱有非常重要的指导作用。
Shen Chongsui, one of the most important songwriters in the Ming Dynasty, was another milestone in the history of the development of music after Wei Liangfu. Since the Southern Song Dynasty and other people summarize the four tones, the later songwriters all cast considerable attention on the relationship between the four tones and the singing. Based on the expositions of his predecessors, Shen Chongsui analyzed his singing style in detail in his book “Notes on Degree”. In his exploration and discussion in this area, he constructed the basic norms of pronunciation and oral law in Kunqu Opera. On the one hand, Yuan Shao-quan and Wei-Fu Liang, on the other hand, had far-reaching influence on other sinologists such as Xu Dachun, not only at the time but also Now, all of the opera singing on stage has a very important guiding role.