臺北市立國樂團自民國68年成立以來致力於國樂的發展，在眾多音樂活動中不乏對於古箏音樂的推動。本文回溯臺北市立國樂團在民國73-93年間曾主辦、協辦的箏樂相關節目，探討時光場景裡屬於箏樂領域的人事物，運用有形的節目冊、影音紀錄和圖片，輔以口述資料和敘事結構加以回顧。研究發現，早期古箏音樂的表演以獨奏形式為主，其次是絲竹重奏、箏樂合奏，協奏曲的數量相對較少。綜觀箏人的演奏足跡，民國70年代以梁在平最為活躍，梁樂的演出率佔國人作品四成以上。70年代為國人箏樂創作的高峰期，80年代以後大陸作品逐漸傳入，大量新穎炫技的大陸箏作流播兩岸，河南、山東、潮州、客家等箏樂流派傳人相繼來臺交流演出，兩岸箏樂交流熱絡。這段時期在展演曲目上，出現「國人作品」、「大陸地方箏派傳統箏曲」和「大陸創作改編箏曲」三分天下的選曲趨勢，反映了當時普遍存在臺灣社會的箏曲流播現象。回顧民國73-93年陳澄雄、王正平二位團長在任的20年期間，對於專項器樂的推動已有具體的政策成形。臺北市立國樂團以公資源挹注古箏音樂的創作和演奏，20年間所主辦、協辦的眾多節目，可謂見證箏樂藝術發展的時代足跡，這些演奏活動長期促助著箏樂的發展，對臺灣箏樂領域有諸多的建樹。

The Taipei Chinese Orchestra (TCO) has been committed to the development of traditional Chinese music since its formation in 1979, with zheng music also promoted in its various music events. In this article, the author chronicles the zheng music-related events and performances organized or co-organized by the TCO in 1984-2004 to examine the persons and events in the zheng music community within the specific timeframe, using concert brochures, audiovisual records, and photographs, along with oral records and narrative techniques in the review. This study finds that early zheng music performances were mostly in solo form, and less frequently in sizhu ensemble and zheng ensemble forms, whereas concerto presentations were relatively few. Tsai- Ping Liang was the most active zheng player in the 1980s, performing in over 40% of the works written by Taiwanese composers. The 1980s saw the peak of Taiwanese composers’ zheng music production. From the 1990s onwards, zheng works composed by Chinese composers were gradually introduced into Taiwan. Chinese zheng works abounding with novel and fancy skills circulated across the Strait, with successors of Henan, Shandong, Chaozhou, and Hakka zheng music schools visiting Taiwan for musical exchanges and performances, creating vibrant zheng music interactions between Taiwan and China. During this period, the overall zheng repertoire became increasingly separated into three categories: 1) contemporary zheng works by Taiwanese composers; 2) traditional zheng works from local zheng music schools in China; and 3) Chinese composers’ arrangements and zheng works. This revealed the wide circulation of zheng music works in Taiwanese society at the time. During their combined two decades of TCO presidency in 1984-2004, Tscheng-Hsiung Chen and Cheng-Ping Wang had formulated clear directions and strategies for promoting specific traditional Chinese instruments. The TCO utilized public resources to encourage zheng music compositions and performances, having witnessed the history and artistic developments of zheng music art through the multiple music events it organized or co-organized in 1984-2004. These performing activities have had a long-term influence in facilitating zheng music development, and have made extensive and profound contributions to Taiwanese zheng music.