本文論梆子腔（秦腔）之名義外，進一步考證梆子腔之源頭非一般所說之山陝梆子而實為西秦腔，並由此而論及其流播情況。其次說明梆子腔之作為「花部亂彈」，其亂彈之名義乃有四變；更詮釋秦腔之載體「西調」實非腔調，並從而論及其伴奏之演變，以及秦腔之曲脾體與板腔體均其來有自。經過全文探討，可以獲得以下結論：其一，舊屬秦地的陝甘一帶，早在先秦時代即已有由方晉方言為基礎形成的「秦聲、秦腔」。其二，秦腔以地名，起碼應在晚明中葉之前即流播至江南；原本以雜曲小調之所謂「西調」為歌唱載體，乃至由此發展為曲脾體；也可以從俗講詞話或從鑼鼓雜戲取材板腔體。至乾隆末，秦腔進一步與崑弋合流。其三，臺灣亂彈之古路戲源自西秦戲，其腔自為西秦腔。其四，臺灣亂彈戲中之「梆子腔」實為秦吹腔未板式化之前的「原型」，而安慶彈腔之「吹腔原板」、徽劇之「吹腔正板」，則亦可證明秦吹腔板式化的現象。其五，乾、嘉之世，秦腔一方面發展原有之詩讚，一方面將詞曲系西調之長短句雜曲小調演變為三五七字之體式；又由此合併三字五字兩句而成上下兩句七言或十言為單元之詩讚板腔體，而將雜曲小調乃至曲片卑套數變為器樂曲，伴奏樂器也由吹奏樂改為絃樂。其六，秦腔生命力非常強大，向外流播至中國十八行政區，以及臺灣，所以稱說秦腔是近代中國地方系腔調劇種之母。其七，秦腔在劇種中與其他腔調運用的類型，則有單一運用者；有在多腔調劇種中，作為一個獨立腔調而獨立之演出與傳統劇目者；有與其他腔調結合仍保有其特性者；有與其他腔調結合，仍保某些梆子因素者；有作為一種腔調在一個劇種中單獨使用，未保留劇目與獨立演出形式者等五種。

In addition to discussing the meaning of the term bangzi qiang 梆子腔 (Qin qiang 秦腔), this paper also shows that its origin is not, as is commonly assumed, the Shaanxi bangzi 陝西梆子, but rather the Western Qin qiang (西秦腔). Based on this finding, the transmission of the bangzi qiang is also traced. This paper draws the following conclusions. First, the Shaanxi-Gansu region, being under control of the Qin during the Warring States period, developed local Qin sheng秦聲, or Qin qiang based on local dialect pronunciations, as early as the pre-Qin period. Second, Qin qiang, as used to indicate a region, had found its way to the Jiangnan area prior to the middle or the end of the Ming dynasty. Originally, it was sung in the Western diao 西調 using zaqu 雜曲 or xiaodiao小調, from which it developed into the qupai ti 曲牌體. At this point, it also absorbed material from local performances of cihua 詞話 or luogu zaxi 鑼鼓雜戲 to develop as a banqiang ti 板腔體. By the end of the Qianlong emperor's reign, the Qin qiang had merged with the kun'i 崑弋. Third, Taiwan's luantan, the gulu xi 古路戲, originates from the Western Qin opera and makes use of the Western Qin qiang. Fourth, the bangzi qiang used in Taiwan's luantan xi 亂彈戲 is in fact the original form of the Qin chuiqiang 秦吹腔 (before the introduction of the bangzi). The fact that the bangzi was a later addition to the Qin chuiqiang can be proven by looking at the chuiqiang yuanban 吹腔原板in Anhui and the chuiqiang zhengban 吹腔正板 of the Hui opera. Fifth, during the reigns of the Qianlong and Jiaqing emperors, the Qin qiang on the one hand further developed the shizan 詩贊already in use, while on the other developed the now characteristic three-five-seven character format. Sixth, the remarkable vitality of the Qin qiang saw it spreading to all of China's eighteen administrative units and Taiwan, making it the mother of all local opera in modern China. Seventh, the Qin qiang is found appearing in opera by itself and with other qiang in various different forms.