In Wagner's early works, we can still see the influence of composers such as spontini. Later, he devoted himself to the reform and innovation of traditional Chinese opera, pursuing the seriousness of art and advocating elegant mood. He believes that the role of opera as a comprehensive art should be reflected in all directions, not only focusing on one aspect, opposing the supremacy of music over drama, and advocating the unified concept of stage art, literature and music. He personally participated in the screenwriter and attached importance to the drama words that served the content. He broke the conventional division of opera and followed the development of the plot, creating Wagner-style "endless melody" (canceling aria, recitation, etc. He emphasized the symphonic nature of the band, and enhanced the expressive force of the band with the strong contrast of rigidity and softness, especially the things that human voice could not express. He is good at expressing the characters, events, thoughts and feelings in a large number of plays by using the "explicit motives" that appear repeatedly, echoing back and forth, and giving the audience great satisfaction from hearing and feeling with special sound effects. In terms of modal harmony, he is also quite novel, frequently using variation harmony, making tonality in a fuzzy state, enriching and developing traditional modal harmony. The "musical" advocated by him is a brand-new form of opera, which is presented to people with unprecedented aesthetic feeling.