Tibetan opera originated from the Qinghai-Tibet Plateau, which is more than 4,000 meters high. Due to the unique national style, geographical environment and historical development process, Tibetan opera's unique singing style and music have been formed.

In addition to special decorative sounds such as Zhonggu formed by absorbing folk music and religious music, the most obvious feature of Tibetan opera singing is that it accompanies the singing.

In terms of pronunciation, Tibetan opera singing uses special methods such as foot strength, belly breath and back of the head sound, which makes it extremely exciting, rich, smooth and sweet, with endless charm and unique style.

The music of Tibetan opera was relatively simple in the beginning. After the democratic reform in Tibet, the music of Tibetan opera has developed greatly and formed its own unique style and characteristics.

The singing tune "Langda" in Tibetan opera originally means biography or legend. Tibetan opera mainly focuses on performing various characters, biographies of gods and Buddhas, or local stories. In order to distinguish songs from Tibetan opera singing, people habitually call Tibetan opera singing "Langda".

The singing tunes of Tibetan opera, due to the different eras and regions in which each type of opera emerged, and the different musical materials that make up the singing tunes, have different differences in musical style, expression form, and singing tunes, melody, structure, mode, and singing methods. Each has its own characteristics.

There are many kinds of Tibetan opera singing tunes, among which Daren singing tune means long-key singing tune; Dazhen singing tune means mid-key singing tune; Datong singing tune means short-key singing tune; and Rulu singing tune means sad tune. Singing; Dangluo singing means counter-key singing; Xiema singing means mixed singing and opera singing; Xiema Dangmu singing means mixed rap singing; Xieba singing means praise and blessing singing; Jundang singing means commonly used singing. ; Danggu singing means ordinary singing; Duoqiaomina singing means villain singing; Qucangmu singing or Tashi singing means the finale or auspicious ending singing; Xie means folk ditty, etc.

At the same time, since the singing tunes of various local operas are determined according to the different identities of the characters in the play, the singing tunes are also determined by the identities of the characters, such as the singing tune of the king, the singing tune of the queen, the singing tune of the internal minister, and the singing tune of the foreign minister. Etc., Qamdo Tibetan Opera and Dege Tibetan Opera are called this.

In the singing tune of Tibetan opera, each song can independently form a aria, which has the unique characteristics of short lyrics and long melody. Each aria usually only has two lines of lyrics, but its melody is composed of multiple sections. For example, in the opening scene of Jialu Daren's aria, there are only two lines of lyrics, but the melody has 10 sections.

There are two common structural forms of singing. One is that the number of paragraphs is different, and the length of each paragraph is different; the other is a similar three-step structure, such as harmonic singing and Harmony and wood singing.

One of the most distinctive features of Tibetan opera singing is its Zhonggu technique. According to the original composition and singing design of the Tibetan Opera Troupe of the Tibet Autonomous Region and research by Tibetan musician Bianduo, the use of Zhonggu techniques in Blue Mask Tibetan Opera singing is very common, and the types of Zhonggu are also extremely rich.

There are three ways to use Zhonggu. One is to mix the small Zhonggu in White Mask Tibetan Opera with another special melody "Hey Zi Tune"; the other is to combine it with "Hey Zi Tune" Then connect it with the singing melody, and the third is to use several kinds of Zhonggu together.

The banyan rhythm of Tibetan opera singing is mainly Sanban, but each type of opera is different. The singing tunes of White Mask Tibetan Opera and Blue Mask Tibetan Opera are mainly Sanban, with only a few singing styles including one Banyan and three eyes, one Banyan and one Banyan. Most of the singing styles of Qamdo Tibetan Opera and Dege Tibetan Opera are one-note and three-eyes or one-note and one-note, while the minority are loose-play.

Singing can be performed solo or with accompaniment, and accompaniment can include single-part or multi-part chorus. The accompaniment forms of Blue Mask Tibetan Opera are also diverse. Here are just the most complex, richest and most distinctive ones, that is, imitative polyphonic multi-part music. All its parts express the same melody, some of which are exactly the same as the main melody, and some of which are identical to the main melody. It is the repetition of changes in the main melody.

But when singing, each part does not sing the melody at the same time, but moves at different times, that is, from top to bottom, each part delays for a certain period of time, one after another. Singing it, it has its own rich and brilliant sound effect.

The repertoire also greatly exceeded the White Mask Play, which only performed one "Prince of Northam" and most of its fragments, and developed into a large number of large-scale dramas performed. The religious content and color are prominent. People, gods, ghosts, spirits and animals are performed at the same time, forming a unique form that combines religious drama, mask drama and square drama, and has an ancient and magical charm.