曰治時期的臺語流行歌曲在1930年代於臺灣歷史舞臺初登場之時，即有曰 籍的編曲家以西樂的手法為這些歌曲進行編曲伴奏，使得這些最早期的臺語流行 歌曲藉由西樂的音樂元素和編曲技巧的運用而呈現出顯著的西方風格。然而，就 這些歌曲的音樂層面來說，大部分的研究學者關注這些歌曲的旋律或歌詞，有關 編曲的部分則少有人進行研究。筆者有幸能取得臺灣歷史上「第一批」及「首度 大批」赴日錄製的流行歌曲之珍貴史料，本文乃就這些歌曲的編曲技法中，有關 編曲樂段的結構與組成的形式進行音樂分析，並提出觀察的結果，主要著重於對 「編曲樂段的編排結構設計」、「各編曲樂段之旋律內容的編創手法」、「各旋律內 容之編創手法的橫向組合與運用」以及在78轉唱片錄音時間的限制下，「各編曲 樂段之編排的限制與裁量」等四個面向進行深入地探討。

Taiwanese pop songs began to develop in the 1930s when Taiwan was under Japanese colonization. Most of the songs composed in this period were arranged by Japanese arrangers who used Western techniques in their works. As those arrangers applied musical elements and arranging skills frequently seen in Western music system, those Taiwanese pop songs manifested a pronounced Western style. However, most academic research on those songs in the last few decades has focused mainly on the melodies and lyrics, while the arrangement of music has received less attention. The present author is fortunate to have acquired the earliest recordings of the Taiwanese pop songs in the 1930s. The purpose of this article is to explore and analyze the arrangements of those songs, particularly in the structure and composition of the arranged melodic sections. As a consequence, this article intends to provide observations on the following four questions: a) How was the structure of arranged melodic sections designed? b) How were the melodies of the sections composed? c) How were the composed melodies applied in related songs? d) How did the time limit of the 78-rpm record affect methods for arranging?