The Role of Music Theory in Stage Performance for Vocal Singing Based on the <i>Yuelun</i> <i>Zhushu</i>

The Yuelun Zhushu (Commentary and Annotations on the Treatise of Music) is an academic work meticulously compiled by the Tibetan Sakya scholar Amisha (Ami Gongga Sonam Zhabachen) on the classical Tibetan music theory text Yuelun, authored by Sakya Pandita. Amisha, the 26th Chiba Dharma King of Sakya Monastery, was renowned for his profound knowledge, particularly in the Five Sciences, and his expertise in music theory. In this scholarly piece, Amisha offers a thorough and detailed commentary on Yuelun, providing line-by-line annotations that help future scholars better understand and delve into the essence of the work. At present, research in China tends to focus on Yuelun Zhushu as a “reference tool” for interpreting Yuelun itself, and significant progress has been made in translating this text. However, in comparison to its far-reaching value, studies examining the intrinsic value of Yuelun Zhushu remain insufficient, failing to fully highlight its importance in musical practice. Research on Yuelun Zhushu is often conducted under the shadow of Yuelun, thus limiting its recognition as an independent academic work. This paper explores the profound influence of Yuelun Zhushu on Chinese ethnic vocal music, particularly in the development and transmission of Tibetan vocal music, emphasizing its pivotal role in promoting these art forms.