琵琶是民族樂器中具有表現力的樂器之一，具獨特的表現方式。不但能彈奏活潑、歡快、喜悅或抒情的曲調，也能奏出鏗鏘有力、雄壯激昂，具有張力的曲調，因此，具有豐富的表現力。
傳統琵琶曲有文曲、武曲，二十世紀有現代創作曲與協奏曲的產生，帶給琵琶音樂不同的新風貌，呈現出不同的新音響與創作手法，有別於傳統的表現手法，在演奏上提供了更寬廣的表演空間，也豐富了琵琶音樂藝術。在眾多琵琶協奏曲目中，就以筆者挑選了最喜愛的兩首琵琶協奏曲《祁連狂想》、《祝福》深入的研究與分析。因此兩首樂曲較缺乏書面的研究，筆者特地專訪作曲家，獲得第一手寶貴的資料，作為本論文的分析與詮釋的根基。
本論文是以兩首琵琶協奏曲：《祁連狂想》(韓蘭魁作曲)與《祝福》(趙季平作曲)為研究對象，內容共分為四章：第一章緒論；第二章琵琶協奏曲《祁連狂想》與第三章琵琶協奏曲《祝福》兩首樂曲創作背景、作品素材、樂曲分析、演奏詮釋等方面加以研究與探討；第四章結論：以筆者對兩首樂曲的詮釋與演奏心得做為總結，提供後人演奏之參考。
Pipa can perform many types of melody like: lively, cheerful, joyful, lyrical, sonorous, majestic and tension. That makes it one of the most expressive Chinese instruments.
Traditional Pipa melodies were classified as Wen qu and Wu qu. However, the inventions of modern composing and concerto in the 20th century gave the Pipa melody a whole new style. New acoustics and creation-techniques from the modern composing and concerto provided wider expressive zones and enriched the Pipa art. In the plenty of Pipa-concertos, the author selected “Oilian Rhapsody” and “Bless” as the research objects, which were composed by Hanlan Kui and Zhao Jiping respectively. Because only few research publications assessed the two songs, the author interviewed one of the two composers personally and obtained valuable first-hand data, as the foundation of this research.
This thesis contains four chapters. The first one is introduction. The second and third chapters are discussions of “Oilian Rhapsody” and “Bless” respectively, including creation background, composition materials, melody analysis, and performance interpretation. The fourth chapter is conclusions, providing the performance interpretation and playing experiences of the author, as a reference for future performers.
