1950年代是臺灣由戰後荒蕪裡復甦更生的年代，周藍萍（1926-1971）生逢此時，是臺灣流行歌曲及電影音樂的一顆灼灼明星。如眾所知，周藍萍是影壇黃梅調電影《梁山伯與祝英台》的作曲家，卻很少人注意到他在赴香港工作前，已是臺灣十分重要的電影音樂作曲家，1958年的電影《苦女尋親記》是他與中影合作的第一部片子，相當具有代表性，本文以此為研究對象，探究周藍萍早期電影音樂的部分特徵。《苦女尋親記》是一部以「孤兒」為主角的電影，由年僅十一歲的張小燕（1948- ）主演，她也因而獲得1959年第六屆亞洲影展最佳童星獎。本文首先還原當年電影的拍攝背景及編劇手法，接著聚焦於周藍萍電影音樂的創作手法，由音樂素材、音樂手法、音樂布局三個層面切入。在音樂素材上，本文找到了此片的電影原聲帶，發現了未曾收入現存影片的歌曲，並確認了周藍萍取用傳統戲曲素材作為全片的「主導動機」（leitmotif）。在音樂手法上，他嫻熟自如地運用了「以樂言志」、「以樂寫人」、「以樂抒情」等方法來輔助電影敘事的推進。在音樂布局上，透過「以樂言志」的核心理念，他以〈佛曲〉、〈小燕子〉兩曲貫穿全劇，在音樂上形成剛／柔、全局／個人、天倫大孝／孤女思親的對比，成功地以音樂呼應了「孤兒」主題。

Zhou Lan-Ping 周藍萍 (1926-1971) was a rising star in the fields of Taiwan popular music and film score during the 1950s as Taiwan was being reborn from its post-war ashes. This paper intends to examine the movie Kunü xunqin ji 苦女尋親記 (A Wretched Girl in Search of Her Family; 1958)— the film score of which was composed by Zhou—and explore the features of Zhou Lan-Ping’s early film scores in Taiwan before his more widely recognized work in Hong Kong by the academic community. A Wretched Girl in Search of Her Family stars then eleven-year-old child actress Chiang Hsiao-yen (1948- ), who was awarded Best Child Actress at the Asia Film Festival in 1959 for her leading role as the “orphan” in the film. This paper first details the historical context leading up to filming and the techniques utilized by the screenwriter at that time, and then focuses on the musical composition of Zhou Lan-Ping’s film score by closely examining three elements: musical material, compositional techniques, and musicscape. Concerning musical material, this paper presents the original soundtrack and discovers songs not included in the extant film. These songs demonstrate Zhou’s adoption of traditional drama material as the leitmotif for the film. Secondly, Zhou Lan-Ping adroitly employs the compositional techniques of using “music to convey intention” 以樂言志, “music to portray the character” 以樂寫人, and “music to express mood” 以樂抒情 to further advance the narrative. Regarding musicscape, through the core idea of using “music to convey intention,” Zhou incorporates the songs “Foqu” 佛曲 (“Buddhist Song”) and “Xiaoyanzi” 小燕子 (“Little Swallow”) throughout the entirety of the film. In doing so, Zhou forms the comparison and contrasts between masculine 剛 and feminine 柔, wholeness and the individual, as well as filial piety and the orphaned girl’s recollection of her parents, all of which successfully use music to echo the theme of “orphan.”