《曲錄》是王國維（1877-1927）進入戲曲研究後的第一部專著，此書更是在近代戲曲目錄發展中具有標舉意義。提振戲曲在中國文學的地位，是王國維自介入戲曲研究伊始便肩負起的使命。這不僅使其戲曲研究帶有強烈的文學本位色彩，還促使他嘗試構建中國古典戲曲話語體系。為此，王國維將曲史線索的鉤稽與藝術風貌的闡釋，隱匿在《曲錄》的編纂與論證系統中。從《曲錄》的「初稿本」到「定稿本」，王國維作了一系列文本重塑工作，如著錄範圍的擴大、編目參照文本的替換、作家著錄順序的調整、細目著錄項的豐富等，以使《曲錄》成為一部自然呈現的客觀化、序列化「曲史」。《曲錄》與王國維的詞學研究有著密切關係，特別是王國維有關「意境」的闡論，成為《曲錄》論說古典戲曲審美趣味的理論支點。《曲錄》在王國維詞曲研究的進程中具有重要學術意義，亦對民國戲曲目錄的發展起到率先垂範作用，評點、輯補、接續《曲錄》也成為民國戲曲目錄學重要現象，這亦加速了《曲錄》的經典化。

Qülu is the first monograph written by Wang Guo-wei (1877-1927) after he began the study of Chinese opera, and is of great significance in the development of modern opera’s catalogue. It is Wang’s mission to improve the status of opera in Chinese literature since he started to study opera, which not only made his study of opera have some literature-centered characteristics, but also prompted him to try to construct the discourse system of Chinese classical opera. In order to achieve this goal, Wang combined the history of traditional Chinese opera and the interpretations of artistic features, and conceals them beneath the compilation and argumentation system of Qülu. From the first edition to final draft, Wang Guo-wei has done a series of text reconstruction work, such as expanding the scope of description, replacing the reference text, adjusting the order of writers, and enriching the detailed catalogue and bibliography, etc. Based on these works, Qülu has been naturally presented as an objective and serialized history of Chinese classical opera. Qülu has a close relationship with Wang Guo-wei’ s study of Ci, especially his explanation of the “ideorealm” which has become the theoretical fulcrum of Qülu’s discussion on the aesthetic taste of classical opera. Qülu has great academic significance in Wang Guo-wei’s study on Ci and Qü, and also affected the development of Chinese classical opera’s catalogue in the period of Republic of China. The comment, supplement and continuation of Qülu as important phenomena during this period also accelerate the classicalization of Qülu.