Based on " Tshit-Thô Nanguan "（敕桃南管） graduation concert repertoire, the purpose of this research is to offer a brief explanation about the analysis of Nanguan recital’s content, the experience of the learning process, and individual interpretation of the singing method.
In the beginning, Chapter One of the preface introduces the development of a series of concert ideas throughout the academic years, choices of songs and related program listings. Since the nature of traditional Nanguan music is a kind of "group music" the performances could not be done solely by the author. Besides, no schoolmates could take part in any performances throughout the academic years. As a result, seeking for the support from close members of Taipei Hua-sheng Nanguan Music Club that the author has joined for 27 years was needed. Owing to the reason, a brief summary of Master Wu Kunren（吳昆仁）and Master Jiang Yueyun（江月雲） who the author has long acquired Xiamen School from, the past of Taipei Hua-sheng Nanguan Music Club, and the co-performers are therefore first to be made.
In an attempt to better explain the contents and the structure of both vocal repertory and rhetoric performed at the concert repertoire, Nanguan 's basic lexicons, guanmen, liaopai denotes meter, and distinctive tune families will be briefly demonstrated in the Second Chapter. In the Third Chapter, the four pieces of Sanqu（散曲）, Bei Jiu Quan Jun〈杯酒勸君〉, Lan Xiu Ting Zhen〈懶繡停針〉,Ting Menlou〈聽門樓〉, Xintou Men Qiao Qiao〈心頭悶憔憔〉is each distinctively used to further explain the singing and reciting style of Nanguan Sanqu on the basis of written script, texts in existing tune, rhyme, intonation, the hierarchical structure of melodies, the structure of phrase, the characteristic structure and the singing method of each song, and the differences of Quanzhou School's vocal expression.
The Forth Chapter is constituted by the analysis of relevant content of Zhi（指）and Pu（譜）, the hierarchical structure of melodies, and the form of phrases performed at the graduation concert repertoire and Feifei Sasa〈霏霏颯颯〉was seperately interpreted by the playing technique of pipa (Chinese lute) and sansin (three strings) as well as the analysis of Xiao Xian Fa (Hue) in Si Shi Jing〈四時景〉. In the end, this research also well explains the benefits of studying Nanguan to the author herself and her personal views on preserving the legacy of Nanguan music.