「諸宮調」是流行於宋金元時期的說唱藝術，起源於北宋（公元1068至1093年間），其創始者並非文人貴族，也不是當時有名的宮廷音樂家，而是出自民間的說唱藝人孔三傳。他以講唱方式敘述故事，將各宮調之曲，依其屬性結合成多種形式的套曲，運用多次轉調的手法增加音樂的變化性，以配合多變情節的故事內容，使其生動引人入勝，在當時受歡迎。本文以目前保存較完整的《董西廂》諸宮調為範例，探討我國宋金元時期的音樂現象和音樂體式。 本文首先從詞、曲之體式，文學和音樂結合理念和經驗中，了解古文學與音樂之密不可分的奧妙關係。繼而從《董西廂》之唱詞、曲牌，和音樂曲體，排比分析其體式，依套曲之類型予以分析、歸類，探討出「諸宮調」之體製，並分析每種套式之運用與詞情之關係。最後探討諸宮調之結果與套式對說唱文學南北曲和戲文之影響。

“ju Kung Diao“ was a popular ballad art during the Song, Jing and Yuan Dynasty. Its origin can be traced back to North Song Dynasty (1068 to 1096 C. E.). It was not invented by aristocrats, scholars or then famous court musicians. Instead, it was invented a ballad artist named Kung San Chuan. Kung told stories by talking and singing, combining the chu of all kung diao, according to its different qualities, into various forms of tao-chu and using the technique of multiple melody turns to increase the versatility of the music and to fit into different stories, making the storytelling even more engrossing. It became very popular at that time. This paper will use ung His Hsiang? which is better preserved nowadays, as an example to discuss the musical phenomenon and musical forms and structures. From the forms and structures of tzu and chu, and the concept and the past understanding of combining literature and music, this paper aims to understand the intricate relationship between ancient literature and music. It then studies the lyrics, chu-pai and musical chu-ti of ung His Hsiang? analyzes and classifies the structure of u Kung Diao? according to the types of the tao-chu. It also analyzes the relationship between the application of every type of tao-chu and the chu-chin. Lastly, it discusses influence of the structures and forms of u Kung Diao? on ballad literature Nan Bei Chu and his-wen.