This paper wi1l analyze the achievements of the Duqu 度曲 theory in the works of four phonologists that specialized in Chinese traditional opera. The achievements of the Duqu theory and phonology in the Qing dynasty are presented based on the following seven aspects, namely, (1) si sheng 四聲 and Duqu (four tones, with discussion centering primarily on the ru sheng), (2) shou yum 收韻 (ending rhyme), (3) bi kou 閉口 (closing mouth), (4) biyin 鼻音 (nasal), (5) jian tan yin 尖團音 (dentalveolars and palatals), (6) wuyin sihu guiyun 五音四呼歸韻 (five phonemes, four groups of vowels, returning rhyme), and (7) the phenomena of nanfang yuyin hua 南方語音化 (sounding Southerned, by using Wu language to sing the traditional Northern opera) of Northern Chinese traditional opera. Phonology influenced the development and transmission of the Duqu theory during the Qing dynasty in three main ways: (1) the influence of phonological elucidation on Duqu; (2) the use of phonology to construct the techniques of transmitting sounds; and (3) the use of phonology to initiate the rules of dialogues. These three dimensions ref1ect the historical development from early Qing to the Jiaqing and Daoguang periods, a total of 150 years, and the different achievements resulting from the fact that phonology was integrated into the Duqu theory. Qing phonologists developed the Duqu theory by building on the achievements of their predecessors: LiYu 李漁 built on Wang Jide’s 王驥德 studies; Mao Xianshu 毛先舒 made much progress in his research on Nanqu rushing 南曲入聲; Xu Dazhuang 徐大樁 leamed his opera techniques from Shen Chongsui 沈寵綏, and went on to create his own special oral shapes for expressing abstrct sounds through the application of phonological physiology. Huang Panchuo 黃旛綽 generalized concise dialogue rules by borrowing from biological phonology and offered practical principles for performing, singing, and speaking.