二十世紀七◦年代，處於兩岸交流斷層期的臺灣國樂進入「專業化時期」， 琵琶作品亦在此時開始有明顯的發展。八◦年代後期兩岸重啟交流之後，兩岸曲 目更迭速度越來越快，屬於展演大宗的近現代琵琶曲目開始大量依附在大陸琵琶 的發展之下，即使臺灣有自己的琵琶曲目產生亦深受對岸作品風格語法的影響， 產生創作概念和演奏行為的改變。然文化的表徵因地而異，音樂作品中反映著一 方人們的思維，使得受兩岸交流影響前、七◦年代的臺灣琵琶作品更顯獨特。本 文旨在通過研究此時期的作品來反思琵琶音樂在臺灣可能的發展與特性，藉作品 的彙整與研究來回顧此時期的作品特色。期許本研究得以補充臺灣琵琶音樂的發 展脈絡，並引起更多研究者與演出者對於臺灣作品的重視，進一步找尋發展出屬 於臺灣琵琶音樂的風格與發展方向。

In the 1970s, when cross-strait exchanges between Taiwan and Mainland China were blocked, Chinese music in Taiwan (guoyue) transitioned into a period of professionalization. It is also during this time that composed works for pipa began to develop in Taiwan. After the thawing of cross-strait relations in the 1980s, the resumption of frequent exchanges rapidly transformed the repertory of pipa music in Taiwan. Under such circumstances, not only the repertory for performance became comprised primarily of modern pipa pieces from China, but the newly composed pieces also developed under the stylistic and syntactical influence of Chinese pipa music; concepts of composition and performance practice were thus influenced. Culture varies from place to place, and music reflects different cultural interests and thoughts. From a historical and cultural perspective, pipa’s compositions in Taiwan in the 1970s possesses a unique significance. This study, therefore, places emphasis on pipa compositions of this particular time to revisit the development of pipa music in Taiwan. To do so, this paper will compile and analyze composed pieces from the 1970s to retrace the characteristics of pipa compositions of this decade. This study hopes to contribute to the literature on the history of pipa music’s development in Taiwan, to draw researchers5 and performers5 attention to Taiwanese pipa compositions, and furthermore, to explore a distinct Taiwanese pipa style and orientation within the trajectory of cultural history and musical tradition.