摘要
本論文以探討張朝《日月歌》之樂曲結構與演奏詮釋為主。樂曲分為兩個樂 章，第一樂章〈月亮歌〉為中阮與民族管弦樂隊，主要描述哈尼族對於月亮的三 個品質：靜、明、行，第二樂章〈太陽歌〉為柳琷與民族管弦樂隊，表現了太陽 的兩個精神：光與熱。 本文首先探討作曲家張朝個人背景與創作理念，並透過訪談了解作曲家的生長背景與音樂觀。接著討論《日月歌》之音樂結構與詮釋，其中在〈月亮歌〉與 〈太陽歌〉章節之中討論中阮與柳琴之演奏技巧，以左手與右手進行歸納整理。 截至目前為主，張朝《日月歌》是唯一能夠讓柳琴與中阮演奏家能夠在舞台 上一次展現兩種樂器之作品，本文研究重點為中阮與柳琴在音樂詮釋上的不同之 外，透過系統性的整理中阮與柳琴演奏技巧，提供中阮與柳琴演奏者學習資料。
並列摘要
This article is primarily to explore the structure and interpretation for the composition of Chang Chao's "Song of Sun and Moon." The composition consists of two movements: the first movement, " Song of Moon," performed by zhongruan and Chinese Orchestra is mainly to describe the three qualities of the moon, namely calm, clear, and walking, by Hani people; the second movement, " Song of Sun," performed by liuqin and Chinese Orchestra is to present the two spirits of the sun, namely light and heat. The study firstly explores the personal background and creating concepts of the composer, Chang Chao, and then tries to understand the growing background and Musikanschauung of the composer through interviews. Next, the structure of the composition and interpretation for it are discussed, which include the discussions on the performing skills of zhongruan and liuqin in terms of the right hand and left hand in the chapters of " Song of Moon " and " Song of Sun." Until now, Chang Chao's "Song of Sun and Moon" is the only composition that allows the performer to simultaneously play the two instruments, liuqin and zhongruan, on stage. In addition to highlighting the differences in interpreting a composition by zhongruan and liuqin, the study also systematically sorts out the performing skills of zhongruan and liuqin in hopes of providing the references for players of zhongruan and liuqin.