Si Ping-Diao drama is a kind of important traditional drama in Taiwan. It had its own glamour time during the Qing dynasty and Japanese occupation time. However, under the influence of the rising traditional Taiwanese opera and Hakka drama, it was gradually forgotten after the Taiwan Restoration. During 1960s, Si Ping-Diao troupes were forced to either disband or transform, and then finally ended up disappeared in the history. Si Ping-Diao drama disappeared so early, that causes the lack of research data, which make it become the missing part in the Taiwan drama history research pages. In this article will take the field investigation, which based on the last generation performing artists, Gu Li-Da and Zhuang Yu-Ying etc., as the basic of this research to the Si Ping-Diao drama in Taiwan. Through the data analyze, this article list the development line systematically, clarify the relationship between ＂the old Si Ping-Diao＂ and ＂the new Si Ping- Diao＂, and then generalize the tone sorts of the drama. The tone of the Si Ping- Diao drama can separate into two type of music: ＂Qu Pai-Ti＂ and ＂Ban Qiang- Ti＂. And the Xi Pi type, without erhuang type involves, is the main type of music style in this kind of ＂Ban Qiang-Ti＂. It's a kind of quite unique phenomenon in the drama that belongs to Pi Huang tune. Besides, there are something different between the Xi Pi types music systems of Si Ping-Diao drama, the new type system (so called: west type system) of Luan Tan Opera and the traditional Chinese drama. These kinds of differences are especially seen at the tempo structures of their prelude, and the first beat of singing melody which called ＂Duibanchang＂. These differences are the main feature of the Si Ping-Diao drama, and its special characteristic that separate this kind of drama from others. Because of the above reasons, I can set up the conclusion that the Si Ping-Diao drama was a precious and independent drama, with its own unique tones and art features.