Ache Lhamo(Tibetan theatre)of the sKyor-mo-long school comprises three parts:rNgon-pa'i'don—the opening,gzhung—the main part,and tashi—the ending.The opening and ending are highly ritualistic,juxtaposed with the formal theatre,imbuing Ache Lhamo of the sKyor-mo-long school with the attribute of integrating ritual and theatre.This paper focuses on the embodiment of Ache Lhamo music of the sKyor-mo-long School in the integration of ritual and drama.According to the author,the use of music in the opening of rNgon-pa'i'don and the ending of Tashi is primarily characterized as"setting music for ritual,"involving fixed singing in ritual links.Each stage's performance behavior and music serve specific functions and effects.The main part of the theatre is primarily embodied as"the music depends on the role,"with a focus on creating characters and expressing emotions.
Ache Lhamo of the sKyor-mo-long schoolThe Integration of Ritual and TheatreMusic LayoutMusic Rules
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