This dissertation is an exploration of the genre of traditional Chinese music and storytelling called 蘇州評彈 Suzhou Pingtan/Soutseu Bindae, focusing on its phonologies and language use. It spans many different aspects of language: sound systems, phonetic registers, phonological changes, historical evolution, and literary and colloquial language; as well as their intersection with music in tone-melody mapping, melismata and vocal techniques, instrumentation and musical training in the disciplines. Through investigating into those topics, this dissertation dissects the complexity of Bindae’s linguistic system, treating it as its unique ‘grammar of grammars’ and analyses its specific linguistic components accordingly. Given the various language varieties and linguistic devices used in Bindae, it concludes that the linguistic components within Bindae are both a fossilised form of language, mainly Soutseu dialect 100 years ago, but also innovative because of the frequent use of different phonologies and linguistic registers, including the literary Zhongzhouyun phonological layer and its corresponding register with elements from Mandarin and Classical Chinese; that there is a clear difference of language use between the spoken and sung sections of the performance; and that the different phonological layers and linguistic devices, as well as the interaction between language and music, together make the strings and threads of Bindae. Apart from examining these large overarching questions in different parts of Bindae phonologies and language use, it also serves as an important documentation of the language used in this unfortunately declining art form and an additional illustration of the symbiotic and interwoven relationship between language and music.