本論文想要研究台灣當代三位重要作曲家：潘皇龍（1945-）、曾興魁（1946-）、錢南章（1948-）創作發展上的關係。雖然他們的創作風格迥然迴異，但是有趣的是，在他們的創作發展上卻有一些相似之處。筆者認為他們在作曲生涯中同樣歷經三個階段：（1）留學前－西方傳統音樂技法的奠定，（2）留學時期－接受西洋現代及前衛風格的洗禮和找尋文化認同，（3）回國後－尋找自我風格及文化主體性。本文想透過研究他們上述三個階段的作曲發展，以及從它們歸納出的共通性以增進我們對於這三位台灣重要作曲家的理解。而且因為很多台灣當代作曲家在創作生涯中也同樣經歷上述三個階段，所以本文也希望對台灣當代藝術音樂的研究提出一點貢獻。

The objective of this paper investigates three important modern Taiwanese
composers: Pan Hwang-long（1945-）, Tzeng Shing-kwei （1946-）, and Chien Nan-chang （1948-）, specifically on their similar compositional developments. Although the styles of their work are quite different, they share interestingly similar compositional phases as followings: (1) the learning of traditional compositional technics of western music as basis of their being a composer before their overseas study. (2) the reception of new technics of modern western composers and the searching for their cultural identity during their overseas study. (3) The searching for their own compositional styles and cultural subjectivity after their overseas study. This paper intends to research the above-mentioned developments and the common characters derived from them in order to achieve a better understanding of their works. Furthermore, because many Taiwanese composers share the similar experience in their compositional developments too, this paper will hopefully give some contributions in
general to the study of Taiwanese contemporary art music.