英文摘要:This dissertation will rectify itself, using life events of Emperor Song Tai Zu (Chao Kuang-Yin) as historical frame basis; main goal being to probe into Beiguan scripts through backtracking and in-depth research. Amongst all Beiguan scripts, stories which entail the life of Chao Kuang-Yin include: 《Wan-Li-Ho》 and 《Da-Her-Dong》 complete operas, as well as other short length dramas as 《Shuang-Long-Hsien》, 《Jin-Chao-Wen-Boo》, 《Lei-Shen-Dong》, 《Song-Mei》, 《Da-Chiao-Yuan》, 《Kao-Ping-Guan》, 《Hua-Ting-Huei》, 《Kuen-Tsao-Fu》, 《Fang-Pou》, 《Yang-Guen-Jiao-Chiang》, 《Zhan-Huang-Pao》, 《Kuen-Nan-Tang》, etc. By using traditional theatrical techniques such as Xiao Shuo, Za Ju and Chuan Qi, following strict chronological orders, establishing complete intact linkage of historical depictions during 5 consecutive dynasties, all the way from late-Zhou up to early-Song. Through careful comparison and integration of different dramatization theoretic, clarifying historical facts and fictions, in order to supplement for omitted and/or erroneous data found in Beiguan scripts. Amongst all operas concerning the life of Chao Kuang-Yin, there exist many special chanting styles, such as: 【Shi-Err-Zhan】 and 【Chi-Kong-Men】, ect. By incorporating indicative hints from Lio-Sha’s book:《The Historical Background of Yee-Huang group chanter styles》, my thesis hopes to achieve the backtracking of Beiguan melodies, to their ancestral roots of erratic tunes of the Yee-Huang operas from Jiangxi province. Via vocal tunes in traditional Chinese operas, the aim is to grant a brand new position for Beiguan operas in the Hall of Fame of historical development of chanting styles.