Regarding the middle era of the Ming Dynasty, the most important opera were Tang Xianzu and Shen Ching. Shen Ching changed the ＂Peony Pavilion＂ rhythm to Tung Meng Chi (the story of the same dream), which created an important debate in the opera forum late Ming theater world, which was called the ＂Tang-Shen dispute.＂ The perspectives of these two were completely different. Shen Ching wanted to find a way to cure his career failure in opera writing; however, at that time, it was a transitional era between conservative and innovative of Ming writing about legends. He chose to remember the beauty of the past and follow the ＂old Song Dynasty and Yuan Dynasty norms.＂ He even aggressively edited and re-writing the South Jiu Gong Tu scores.＂ This followed Ho Liang-chuing's original nature with innovations, in order to create a standard tradition to fit his own mind. These series of actions returning to the traditional was a way to find his own dignity and nostalgic feelings; however, Tang Xianzu also followed the classical style, since he thought traditional music was produced to follow the times. ＂The rule of the melody shoul dbe based on nature, not artificial.＂ Tang absolutely disagreed with Shen Ching’s theory; therefore, we know that the method of remembering the ancient times by these two people comes from very different experience. Therefore, the debate between the t a ＂Wujiang School＂ and ＂Linchuan School＂ began. Shen Ching was considered the ＂leader of the melody＂ by the scholars of the Wujiang School in the late Ming Dynasty. Shen Ching advocated the theory of music, as follows: ＂strictly follow the melody,＂ ＂promote nature,＂ and ＂advocate music on the stage.＂ His music theories became the common cultural background of the Wujiang scholars. Through their common experience, the Wujiang scholars worked together to promote this music theory. Therefore, promoting Kun opera melody is as much the achievement of ＂Wujiang scholars＂ as Shen Ching.