Complete musical texts for a devotional service invoking the Great Bear contain Chinese characters as well as pronunciation guides for the Taiwanese female celebrants. Quasi-words, functioning as supporting syllables, are interlaced with the text，making it a distortion of Chinese speech. An analysis is made of the structure and tonality of the syllabic prayers, strophic hymns, and melismatic hymns that occur in the service. Differences in performance techniques for percussion instruments used in both Taoist and Buddhist temple music are discussed.
