There are many theories about the origin of musicals: one theory is that it originated from classical operettas and comic operas in Europe in the 19th century; another theory is that it originated from country songs, black spirituals and jazz music in the United States. A vaudeville assembly of popular songs and dances; one theory is that it originated from the "musical revue" and "musical comedy" created by the British in the 19th century; another theory is that it originated from "Black Hook" in 1866 and later "drama plus song and dance" dramas type. There is also a "comprehensive origin theory" that believes that musicals, an extremely complex cultural phenomenon, are unlikely to arise from a single cultural source. It must absorb nutrients from multiple cultural components to construct its own artistic flesh and blood. Therefore, it The source of forms must be diversified.

This article discusses the issue of the origin of musicals and believes that the "comprehensive origin theory" is more reliable. This is because the "comprehensive origin theory" not only accepts the results of other theories, but also this theory is closer to the actual status of the development history of musicals than other theories. In this regard, Julian Mates proposed in his book "America's Musical Stage": "It is the function of multiple elements that makes our music stage colorful. The development of musicals integrates all elements of the music stage, from circus to ballet, from melodrama to serious opera; and the emergence of talented actors, social changes and changes in audience tastes will all lead to changes in musicals." Special’s point of view reminds us to look at the historical sources of musicals from a broader perspective. Next, this article will use Mette's point of view as a basis to examine various musical stage elements throughout Europe and the influence of black music on American musicals, until American musicals as a musical art genre began to go on the right track.