The version of "Taohuashan" performed in the end of 2008 in Taiwan was adapted from original repertoire of Qing dynasty playwright Kong Shangren by contemporary traditional Chinese opera scholar, ZengYong-yi.Two completely different musical editions were derived from the script of "Taohuashan". One named "New Contemporary Chinese Opera- Taohuashan"was written by Taiwan contemporary composer, Yu Chang-fa. The other named "New Kun-Qu Li Xiangjun" was adapted from primary QuPai into a new aria. The object in this article is Chinese Opera "Taohuashan", developing from the tradition of traditional Chinese opera yet using a brand new musical language of Chinese Opera, which demonstrated a clear trial made by the composer."Taohuashan" was based on the convention of traditional Chinese opera. Nevertheless, the composer had an obvious tempt to discard the inherent musical structure of traditional QuPai and enriched it with drama music. As to instrumental part, force field percussion of traditional Chinese opera combined with orchestra of western opera reflected a sound of mixture style. The composer simultaneously tried to use traditional Chinese opera vocalization which was a different vocal from the bel canto of western opera. Performers of traditional Chinese opera were main characters to assure the singing and movement of Chinese Theater,however, the songs were innovated from Modern musical concepts. Songwriting techniques were revealed in many ways such as musical forms developed from the Ji-Qu, lyrics integrated with pentatonic scale, Chinese language tone, and modern atonal music, complex accompaniment of instruments that traditional Chinese opera artists were not familiar with, polyphonic duet on top of common monophonic melody of traditional Chinese opera, and novel styles of songs derived from conventional oral skills of traditional Chinese opera.