《綿答絮》與《皂雲飛》是梁在平、梁銘越父子的二首箏作，不約而同借鑑了南管音樂的意象風格與音韻素材。本文分別探討二首箏樂作品，從作者的創作意圖和思維想像，探討不同時空、不同手法的跨領域借鑑，以及作曲者為臺灣古箏音樂所開創的風格徑路。由本質而言，《綿答絮》與《皂雲飛》二個創作文本不僅是箏樂家個人經驗與創意的展示；在傳統遇上創新、民間藝術遇上多元文化的年代，更題點了箏樂風格識別與臺灣文化認同的經營。以古箏做韻的按滑猱顫，詮釋南管樂音的細膩爾雅，構成了一種特殊腔韻美感的表現。研究結果顯示，《綿答絮》是南管音樂文本在古箏上的移植與轉化；《皂雲飛》則是作曲家運用古箏對南管韻響的想像與描摹，是一首自由創作。《綿答絮》和《皂雲飛》融合二個樂種，體現當代箏樂人文觀點。在推動古箏音樂與南管音樂融合的過程中，成功地表現了臺灣傳統樂韻，對臺灣箏樂的發展而言具有啟發的意義。有鑑於此，文中提出呼籲：在全球化的環境之下，發展創新箏樂技巧、開發嶄新演奏內容的同時，箏人應著力建構如《綿答絮》與《皂雲飛》這樣具有臺灣人文地域特色的古箏音樂。

MianDaXu and ZaoYunFei are two Zheng pieces respectively composed by Tsai-Ping Liang and Ming-Yueh Liang, the father and son. They spontaneously took the images, styles and music sources of the Nanquan music as materials to compose. The study aimed to discuss the two pieces individually, starting from the composing motives and composers’ imagination to probe into the different applications of interdisciplinary crossover in different periods. Concerning the essences, the two pieces not only displayed the personal experiences and creativities of the two zheng performers, but pointed out the identity of Taiwan zheng music as well as the identification of Taiwanese culture. With the rich lingering charm made by the left hand skills of zheng, it formed a unique aesthetic sense while interpreting the delicate and elegant qualities of Nanquan music. The result has displayed that MianDaXu is a piece of transplantation and conversion from the musical context of the Nanquan, but ZaoYunFei, performed by zheng with the imagination and imitation of the Nanquan music, is a free creation. MianDaXu and ZaoYunFei have fused two musical genres, embodied humane perspectives of the contemporary zheng music. Through the process of mingling zheng music with Nanquan music, the two pieces have successfully presented traits of traditional Taiwanese music, and significantly inspired the following development of Taiwan zheng music. According to this connection, the author made an appealing in the study: Under the surrounding of the cultural globalization, while creating novel techniques for zheng and developing diverse performing contexts, people in the field should put much more emphasis on pieces carrying cultural local features of Taiwan like MianDaXu and ZaoYunFei.