This thesis is the supplementary document of the new music theatre composition “Ming”. This piece takes both the author’s name and the characteristics of the simplified notation of guqin into consideration, breaking down the chinese characters of the author’s name into parts to fit the traditional Jianzipu－notation, therefore, extending or rebuilding the chinese characters to create new ways of performance. Moreover, the author tries to depict the conception about guqin music from the literatus by the scenario of “The Book of Odes” and “Song Ci”. The chinese characters can be interpreted in timbre, rhythms, performing, musical expressions and stage design. Through the dialog and interflow between guqin and electronic music, the new music theatre composition “Ming” shows the spirit of interdisciplinary artwork and total art.

The thesis consist of four chapters. Chapter one is the preface. Chapter two presents the background and ideas of this composition and introduces some related compositions. Chapter three is the compositional analysis of the work “Ming”, detailing the stage design, musical materials and the structures. Chapter four is the conclusion of thesis.