臺灣國樂在近十幾年來迅速地發展，除了作曲家們不斷的發掘新元素作為譜 曲的題材外，演奏者也嘗試以多方的角度探索樂曲內容，企圖能深刻的表現出樂 曲中細腻情感的變化。樂曲主題所描寫的內容為何，端看作曲家創作時的安排， 演奏者在解讀音樂情境時，則以作曲家所設定的主題為方向，賦予音樂適度的想 以詩詞作為譜曲素材的作品，在琵琶、二胡及笛子等樂器中數量相當多，相 較之下在柳琴中卻為稀少。在為數不多的作品中，樂曲《蘿蕾萊》，是作曲家劉至 軒應台北柳琴室內樂團團長鄭翠蘋之邀，指定以德國浪漫派詩人海涅之名詩歌 〈Die Lorelei〉為素材譜曲，以作為柳琴室內樂團音樂會的創新曲目。 本文主要探究《蘿蕾萊》的音樂內容，透過創曲意圖、曲式結構、及音樂特 殊語彙、意象等面向，來分析此樂曲對於詩詞內涵的表現方式。音樂以抽象的樂 語來敘事，詩詞則以凝鍊的文字表達意境。筆者經由對這首作品的分析，除了對 於曲中之意涵、深度更能體悟，並在表現上提出自身的看法外，也冀望筆者研究 出來的資料，能在跨領域的此議題中提供參考。

The rapid development of the national music in Taiwan includes not only the new elements found by the music composers but also the heterogeneous creations in recent years. These compositions try to express the deep emotions in the music. The composer’s arrangement of the musical elements and themes serve as the imaginational space for the players. On the basis of poetry, there are nowadays more works for erhu fiddle and pipa than those for Liuqin. Among the rare works for Liuqin, “Die Lorelie” is the work composed by Liu Chi Shuang, who was invited by Taipei Chinese Orchestra, as an innovative music for the Taipei Liuqin Ensemble, created on the basis of German romantic Heine’s poem “Die Lorelei.” This research is to analyze the work, “Die Lorelie,” by inspecting its motives of creations, structures, techniques, poetic images, and characteristics of tunes to tell the expressiveness of these two works. The composer of this research, as a music performer, makes further interpretations for the musical language and skills. Music narrates in abstract language, while poetry tells the story in terse words. The researcher, with the analyses of these two works (including the insights and interpretations of the works), hopes that the findings of this research would contribute to the performance and the creation of Liquin works.