The first part of this paper is to explain the meaning of qiang in traditional Chinese opera music perspective from music morphology, music structure science and the implication of music aesthetics. The second part discusses the meaning and function of qiang in structure hierarchy of traditional Chinese opera music. The concept of qiang tone (a tone with qiang, that, A tone in the process of singing/ playing has changes coming with pitch, dynamics, intensity and timbre ) is the tone awareness formed on the specific basis of Sino Tibetan language and becomes the structural basis for the formation of Chinese opera music singing style. The qiang in Qiang note series ( three tones with qian ), steps forward the formation of music style characteristics for the genre of Chinese Opera. Qiang passage and qiang yun make the harmonious tone and beautiful sound loop of poetical meter reflect in singing melody. Qiang phrasing partially reflect the formulaic characteristics of melody frame. Qiang diao has the characteristics of formula and variability and provides the carrier of music structure hierarchy to completely or relatively express the meaning of Chinese opera music. The qiang in qiang tao, in broad sense, is a more transcendent frame than qiang diao. It not only provides more rich and varied bases for Chinese opera performing artists to inherit tradition, but also shows wider world for them to expand artistic creativity. Qiang xi is a melody frame that is beyond a single individual, and creates a more expressive system of qiang diao formed by different qiang diao and their variants. This is the most valuable creation of qiang left by music pioneers of traditional Chinese opera for thousands of years.