《飞花点翠》像是“瀛洲古调”的一个缩影,而“瀛州古调”又是对崇明派最好的总结。崇明派的发展随着历史的演变在表面看来似乎没有了门派之别,琵琶艺术本身也百花争鸣取各家之所长。然而,在《飞花点翠》这个小缩影中,又能看出始终存在骨子里保持不变的东西。不管是最早的沈肇洲,还是发展到今天的刘德海,有些是用传承在保持,有些则是用时代演变中的中体西用在保持,还有在跟随时代步伐坚持着崇明派不变的艺术特质。得益于传统流派的地域性,江南,一个本身就与轻柔、细腻、又追求自然质朴的清新雅致分不开的名称,乐曲风格自然也就带着熟悉的江南味道,于是时代给了“瀛洲古调”永远的烙印,也才使得崇明派与其他几大琵琶派系有所区别。 Fei Fei Tsui is like a microcosm of the ancient style of Yingzhou, and the ancient style of Yingzhou is the best summation of Chongming School. The development of the Chongming School seems to have been no different from the evolution of history. The art of pipa itself is also contending for the merits of each family. However, in the miniature of “Fly Point Tsui,” one can see that there is always something that remains unchanged. Whether it is Shen Shizzhou, the earliest, or Liu Dehai, who has developed into today, some are preserved through inheritance, while others are preserved in the midst of the evolution of the era and adhere to the Chongming factional artistic qualities in keeping with the pace of the times . Benefit from the traditional genre of the region, Jiangnan, a soft and delicate itself, but also the pursuit of natural and fresh and elegant taste are inseparable from the name of the music style naturally with a familiar taste of southern China, so the era gave Yingzhou ancient tune "forever imprint, but also makes the Chongming school and several other major pipa factions differ.