The theme music for Mulan (1998), which opens in parallel with the ink and landscape scenes, is in the key of G, based on traditional Chinese musical elements and forged by the orchestra and chorus. In the passage where Mulan meets the matchmaker (6.07), the tempo of the Main Title is increased by a factor of 1.7, and this gives rise to the song Honor to us all. The use of Xuanxu tune, chorus, reprise, solo and unison singing in the song not only reflects the traditional Chinese music concept of composition and structure, in which the core tone remains the same but the overall tempo changes gradually, but also the use of various forms of Xuanxu tune, chorus, reprise, solo and unison singing in the song makes the traditional Chinese music elements, in terms of technical vocabulary and sound concept, become certain structural elements, and in the background The use of traditional Chinese musical elements, both in terms of technical vocabulary and acoustic concepts, has been elevated to a certain structural element, and in the background they are involved in the plot and the dramatic conflict, thus highlighting an innovative quality in terms of stylistic expression that is different from that of the 80s. The film’s Chinese story is structured in a way that still reflects the artistic style of Disney’s animated films. For example, although the traditional Chinese musical elements are orchestrated to create a three-dimensional and full-bodied sound world, thus allowing for a deeper exploration and enrichment of the traditional culture, the strong blues style of the film and the modern rock music grouping also convey an imaginative and pan-Chinese humanistic context. In addition, the first half of the film focuses on four songs embedded in the narrative, which are sung by the female protagonist alone, as well as in mixed chorus, male and female vocal rounds, and in the form of a harmony between the main song and the chorus. These song-like and musical genre designs bring the film closer to the traditional Hollywood song-and-dance genre, while at the same time allowing the ancient Chinese traditional music elements to confront and compromise with them, gaining new modern qualities and audiovisual aesthetics.