以往学者在研究《李氏音鉴》音系时多以其中的“字母五声图”为主要依据，而辅以《李氏音鉴》其他各卷的论述，结果多认为《李氏音鉴》所反映的北京音系“尖团合流”，但“果”摄与“拙”摄尚存在对立。但仔细分析“北音入声论”我们会发现，它不但“尖团合流”，而且“果”摄与“拙”摄也合流。造成这种结果的根本原因是“字母五声图”的列字尤其是入声是作者根据《等韵》列字的，是作者作为一个学者的素养，而“北音入声论”则是作者口语的反映。由《李氏音鉴》来看，现代北京话至少在19世纪初期已经具备雏形。%Scholars in the past have primarily based on “Zimu Wushengtu”(字母五声图)in their studies on the phonology of Li ’s Sound Identification (李氏音鉴)with supporting materials from other volumes of the Li ’s Sound Identification .This has led to the belief that the phonology of the Beijing dialect as reflected in Li ’s sound identification ”does not distinguish between the “Jian”(尖) and “Tuan”(团)initials but the “Guo”(果)rhyme group and the “Zhuo”(拙)rhyme group and still distinctive rhyme groups.Our finding is that not only the “Jian”and “Tuan”initials have merged, but “Guo”rhyme group and “Zhuo”rhyme group have also merged after careful analysis of “Beiyin rushenglun”(北音入声论).The root cause of this scenario is that the the arrangement of characters, especially those with entering tone, by “Zimu Wushengtu ” has based on the arrangement of“Dengyun”(等韵),which reflects the author’s academic attainments.But the sound recorded in “Be-iyin rushenglun”reflects the features of the author’s colloquialism.Li ’s Sound Identification has demonstrated that the modern Beijing dialect has taken shape as a prototype at least in the early 19th Century.
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