崑曲曲牌【刮地風】是流傳久遠的詞牌和曲牌，是明代非常流行的“時曲”，後被用在散套及劇套中，在南曲和北曲中都有，屬於黃鐘宮。它的句格有七句、九句、十句、十一句、十二句等多種形式。本文以《集成曲譜》中，八首不同折子戲中之崑曲曲牌【刮地風】做為研究對象。崑曲化後之【刮地風】，在《集成曲譜》中皆為十二句，五十個正字；然多有增字、減字、增句，或字格有不合格律之處。本文先探討【刮地風】之源流。透過分析了解其所屬套數，也深入探討其格律及音樂旋律，再尋其繁衍之樂曲；了解崑曲化後之【刮地風】，並非一成不變的「程式化之樂曲」，每首都是重新打譜或是創作，每一首新的【刮地風】都有不同之意境。

The Kun Opera Qupai “Blowing in the Wind” had been words and music spread long time before,was very popular in Ming Dynasty and later used in suite, both in Nanqu and Beiqu. Belonging to Key of C, its format has varieties of 7, 9, 10, 11, 12 phrases forms. The target of this study “Blowing in the Wind” is the 8 different excerpts from the “Collectet Scores”. After Kun Opera, “Blowing in the Wind” the Scores are all 12 phrases, 50 characters; then added, detracted characters by words ,phrases or word format unqualified legal place.This study explores the origin and development of “Blowing in the Wind” first through the
analysis the respective number of the suite to discuss the rhyme, melody, and variation of the music;to understand “Blowing in the Wind” after Kun Opera is not static programmable music. Each scored and newly created “Blowing in the Wind” has different art conception.