音樂劇場最初源自於德國，是二十世紀引進的名詞，有別於傳統的歌劇，它應用新的音樂與戲劇觀念和表演形式，作品裡加入許多實驗性的設計，企圖打破傳統。
近年來，隨著表演形式的改變，許多作品的呈現加入了劇情、燈光、舞蹈、演員等，不再只是單一化的演出。而許多音樂家及表演團體對跨界表演與音樂劇場的呈現更是躍躍欲試，觀眾對其演出的接受度也隨之提高。但是獨奏曲與音樂劇場的結合，卻是比較少見的。
本文透過許學東的《b小調幻想曲－獻給蕭邦》及王丹紅的《狂想曲》進行樂曲分析與詮釋，除探討曲式結構、創作背景、音樂素材外，進而於樂曲詮釋裡加入音樂劇場構想，期望可以為揚琴獨奏表演提供更多的跨界結合之可能。
Music theater, a term introduced in 20th century, originates from Germany. In contrast to traditional opera, music theater is presented with the application of new musical and dramatic concepts as well as an unconventional performing style. A variety of experimental techniques are also added to works of music theater as an attempt to go beyond the traditional approaches.
In recent years, as performing style starts to shift, many works have begun to be presented with the addition of plot, stage lighting, choreography and characters, adding layers to the performance. Moreover, many musicians and performing arts groups are eager to embrace the music theater, which, in turn, increases acceptance from the audience. However, the combination of music theater and solo music is relatively rare.
This study presents an interpretation and analysis of Xu Xue-Dong’s “Fantasia in b minor－A Tribute to Chopin” and Wang Dan-Hong’s “Rhapsody” by looking into their music forms, creation background and musical elements. By incorporating the concept of music theater into musical interpretation, it is hoped that this thesis helps explore the possibilities for crossover between Yangqin solo and other forms of arts.
