Tzu-Chi Buddhist Foundation is currently the largest religious organization in Taiwan. as well as an influential international non-governmental organization (NGO), founded in 1966 by the Taiwanese Buddhist Master Cheng-Yen. As promoted by this NGO, Tzu-Chi music has played a unique role within their organization in developing grassroots support for their ideology, being used actively in the four major careers of ”charity, medicine, education, and humanities.”In addition to developing religious organization of nuns, Tzu-Chi Foundation has followed the Master's mission of ”Teaching Buddhism in Civic Life”, by establishing a variety of modern specialized groups as out-of-temple workers, such as medical doctors in hospitals and professional teachers. Since 1983, music has served as a powerful means to connect different chapters of Tzu-Chi people by spanning the gap between non-secular and secular lifestyles. The Da-Ai music repertoire of folk songs and sign-language drama developed for the ”Tzu-Chi people” are primarily rooted in ancient music tradition of Buddhist Veda. Modern Buddhists as Tzu-Chi people do not just listen to religious lesson within the confines of their temples, but also employ the compassionate dogma through actions in their secular lives, and in guiding their careers paths.This paper attempts to examine the development of Tzu-Chi music, by describing local unique phenomena of musical practice in this Taiwanese Buddhist society. This formalist analysis of Tzu-Chi music upon song content and music style has found many unique characteristics of social deployment among rather modem-oriented civic groups, presenting an innovative way to meaningfully communicate their overall compassion for life to persons of other religious beliefs or doctrines.The methodology used in this survey is chiefly participant observation, ethnographic analysis, archive study, and content analysis according to the narrative texts. Through classifying the development stages of the Tzu-Chi songs in 1983-2008 which use for different purposes historically, it becomes clear that this modernized Buddhism lineage intends to re-invent melodic songs for out-of-temple Buddhists. The evolution of Tzu-Chi music delineates the historic trajectory of modern Buddhism in Taiwan, the emotional strategies used in grassroots mobilization, and the Buddhist cultural ideology applied in cross-religious and secular situations.The musical phenomena analysis has illuminated a folk-life emphasis of the Modern Taiwanese Buddhism, presenting a culture-near style for easy assimilation by rural and urban folk. In contrast to the traditional classic tonality of Buddhist music found in a complicated composition, Tzu-Chi music fundamentally forms a selected style composed of many simple melodic songs offering an easy-going style which facilitates widespread popularity through television series and dramatic stories presentations. In serving as a means of compassionate communication, this style of music constructs a unique emotional esthetic with intensive social functions for consolidating group identity and ritualizing religious and secular activities. Thus, the social circulation and cross-boundary mobilization of Tzu-Chi music have not only become an essential part of social life for their NGO membership, but have also generated a powerful means of communication in cross-religious emotional expression and group consolidation.Although this formalist analysis on Tzu-Chi music for songs and drama is at preliminary stage in the music study of Taiwanese Buddhism, its contribution towards understanding modern Buddhism in Taiwan is notable. The study unveils contemporary civic innovation with cultural roots in Chinese Buddhist musical traits, and demonstrates the persistent influence of Buddhist doctrine on modern social life, especially through Tzu-Chi charities and humanitarian efforts.