般涉調為諸宮調之常用宮調，在宋金時期說唱與戲曲相融之際，般涉調以〔耍孩兒〕或〔哨遍〕組套的形式為元曲所繼承，與仙呂、中呂、南呂、正宮……等同列於北曲譜常用的十一個宮調之中。北曲譜之般涉調共收〔哨遍〕、〔麻婆子〕、〔牆頭花〕、〔急曲子〕、〔耍孩兒〕、〔煞〕、〔尾聲〕等七種曲牌。就其曲套程式分析，雜劇與散曲之組套形式發展頗有歧異。《全元散曲》共有46組套數與般涉調〔耍孩兒〕相關，屬於單獨組套者共有28套；與中呂或正宮相聯成套者，共有18套。以此二類曲套創作而有姓名可考者共有24人，有姓或筆名者2人，其餘4套為無名氏之作。以般涉調〔耍孩兒〕創作者，不乏馬致遠、杜仁傑、王伯成等名家。本文以《全元散曲》所收之般涉調〔耍孩兒〕作品為研究範疇，分析其曲套程式類型，並就其內容與可考作者之時代結合，探其主題內涵和寫作筆法。發現在般涉調〔耍孩兒〕的散曲套數中，依然可見其繼承諸宮調的鋪陳敘事筆法，及說唱敘事性創作程式隨曲套音樂進入散曲的蹤跡。

Banshe Tune was a conventional tune in Zhugong Tunes. In the Song and the Jing dynasty, by the blending process of Shuochang [narrative and musical performance] and opera, Banshe Tune was transformed into song-sets of 'Shua Haier' or of 'Shaopian' as a Yuanqu style. Banshe Tune, Xianlu, Zhonglu, Nanlu, Zhenggong and other six tunes became eleven common Gong tunes in Beiqupu, and 'Shaopian,' 'Mapozi,' 'Qiangtou Hua,' 'Jiquzi,' 'Shua Haier,' 'sha,' 'Weisheng' are the seven songs in Beiqupu's Banshe Tune. However, it was still quite different on the development of Zaju and Sanqu when analyzing their patterns of song-sets. In Sanqu of the Yuan Dynasty, 46 sets of song are related to 'Shua Haier' of Banshe Tune. Among them, 28 sets are single songs and 18 sets are song-sets combining with Zhonglu or Zhenggong. 24 composers who composed with those sets are known by their full name; 2 composers are known as their first name or pseudonym; the rest 4 sets are composed by anonymous. Many composers of Banshe Tune's 'Shua Haier,' like Ma Zhiyuan, Du Renjie, Wang Bocheng, are well known composers. The essay will focus on all 'Shua Haier' songs of Banshe Tune in Sanqu of the Yuan Dynasty, and explore their themes and skills. By analyzing the patterns of song-sets and combining the content with the Age of known composers, the essay will discover the track of narrative skill of Zhugong Tunes and the patterns of Shuochang that inherited in Banshe Tune's Sanqu song-set-'Shua Haier.'