客家八音是客家音樂當中，最具代表性的器樂曲，以嗩吶為主奏樂器。嗩吶初學者必須根據只記載骨幹音的工尺譜如實習奏，等到較熟練之後，師父才教他們即興加花演奏。本文以絃索八音為研究對象，透過工尺譜與演奏譜的對照，歸納出八音即興加花的模式，並將其分為基本模式與慣用音型兩個層次，後者的運用，不但減少了不同樂曲間的差異，也更強烈突顯了八音的特性。

The Hakka Bayin, an ensemble dominated by the Chinese reed instrument the
suona, is the most representative instrumental ensemble music found in traditional Hakka culture. Suona performers who play in this ensemble initially learn the same skeletal outline of notes (as written in the gongche system) until their technique improves, and then their teacher instructs them on how and where to add ornamentation. By comparing the skeletal notation with transcriptions from performances of the same song, this study seeks to find the patterns of improvisational ornamentation in Hakka xiansuo bayin. These patterns can be divided into two levels: the basic pattern and frequently-used figures, the latter of which not only make different songs similar, but also can demonstrate important
characteristics of Hakka bayin music.