This dissertation primarily analyzes and examines the phenomena of “finale.” From textual analysis, the rules and transformation of rhymes in model tunes are deduced. It not only can be applied in the study of xiqu (Chinese opera) theory but also avoid following the clichés. In nan qu (southern opera), the transformations of model tunes are obvious in opera highlights, whose analysis is indebted from the study of chuanqi (legend). It we can analyze the finale in model tunes in nanqu; we will recognize the simple concepts of finale. The “finale phenomena” mentioned in this dissertation implies the tune before the ending in each legend play. This opera title may exist in the form of a single tune, double tune, or suite, which may or may not be connected to the “finale” to end the play. In addition, the tunes are closely connected to the plot progression. In Liushih Zhong Qu (Sixty Tunes Genres), these are no single examples. Therefore, in the scope of study, the researcher regards Liushih Zhong Qu as the major object of study. It contains 2244 model tunes, which are re-categorized and summarized for the examination of the patterns of model tunes regarding finale in nan qu and their relations with the plots.
The dissertation contains seven chapters, which examines the phenomena of finale in Ming Dynasty. Other than the Introduction and Conclusion, the other chapters are: The Origins of Finale in Nan Qu, The Single Songs in Model Tunes that can Replace Finale in Ming Chuanqi, Opera Highlights that can in Model Tunes that can Replace Finale in Ming Chuanqi, The Qu Pai (song titles) that can Replace Finale in Ming Chuanqi, The Qu Pai that Functions as Finale in Ming Chuanqi, The Model Tunes without any Finale in Ming Chuanqi, The Model Tunes with Finales in Ming Chuanqi, and the Questions of Finale in Twelve Red.