本文探究歌仔冊《浪子回頭新歌》的語言腔調屬性，以1926年台中博進社陳錫濤本為文本。先略述本書七個版本的來歷，再概述此文本的內容大意，論文主軸分聲母、韻母、聲調、特徵詞四個面向，探討作者的發音腔調。其中，聲母出現泉腔「入歸柳」現象，韻母從11個複合韻目及2個特字進行討論，可證皆屬泉腔韻母，聲調亦有四個泉腔的調型行為，特徵詞則有16例為泉腔語言風格詞。根據本文的分析，原文本作者蔡阿生的腔調為老泉腔，但陳錫濤本已出現少數漳腔混雜的現象。

This paper probes the nature of the dialect represented in the kua-a (歌仔) songbook (booklet) Lōng-tsir Her-thau Sin Kua (New Ballad of the Prodigal Son; 浪子回頭新歌), published by Phok-tsin Siā (博進社) in Taichung in 1926. I begin by summarizing the narrative and outlining the genealogy of the seven known versions of the underlying ballad. Linguistically, I approach the songbook via four axes: initials, rimes, tones, and dialect-specific lexicon. In terms of initials, phonetic borrowings in the songbook show evidence of the Tsuan-tsiu (泉州) /j/ ~ /l/ merger. Rimes-wise, I highlight 13 dialect-specific patterns of rhyming. Four trans-tonemic patterns of phonetic borrowing and 16 dialectically marked lexical usages round out the analysis, leading to the conclusion that while this 1926 version presents a smattering of Tsiang-tsiu (漳州) dialect features, the original ballad was written in a conservative Tsuan-tsiu dialect.