傳統六孔竹笛不論在獨奏或是樂團合奏中，在進行現代音樂演奏時一直存在著一些無法真正解決的問題，諸如音準、音域以及轉調上轉換笛子的困難等，為因應現今豐富而多變的作曲風格和作曲手法的日新月異，樂器演奏者為詮釋樂曲而嘗試許多方法，以突破這些演奏上的困難，期望能接近作曲家的要求，於是幾十年來改良笛子的方式已不在少數。
本文旨在梳理笛子的樂器改良與演奏現況，主題將著重於半音笛對於笛樂的演奏發展與影響，並且從樂器改良歷史中，去探討當中帶來的成效利弊和更多未來可能性。文中除了將彙整笛子在近七十幾年的改良歷史外，獨奏曲的樂器演奏應用也是另一大重點，以兩首獨奏曲為例，探討改良後的半音笛在樂曲中實際演奏的狀況。
為了有別於以往使用傳統六孔笛或加孔笛、多孔笛等改良笛子演奏現代風格樂曲，本文中提及之《蝴蝶夢》與《阿詩瑪敘事詩》將以D調陳氏半音笛演奏為例，以詮釋樂曲中豐富的調性變化和特殊裝飾演奏技巧。在嘗試保有傳統笛子獨有的特色如音色、演奏技巧、裝飾音等基準上，於改良的樂器和現代音樂的演奏詮釋上找到新的突破。本論文除了基本的分析樂曲結構外，亦可提供一些在陳氏半音笛上的演奏法和詮釋觀點。
The traditional 6-hole bamboo dizi has always experienced some problems that cannot be thoroughly solved in solo as well as instrumental ensemble playing, including those in intonation, range, and modulation. To adapt to the rich and variable composing styles and ever-changing methods, instrument players have attempted many methods to interpret musical composition, hoping to break those playing obstacles and expecting to approach requirements of composers. In this way, recent decades have witnessed many ways of improving dizi.
This paper, reviewing the status quo of dizi improvement, focuses on the development and impact of halftone dizi on dizi music, and explores the induced pros and cons as well as more possibilities. It, in addition to collecting the improvement history of the traditional 6-hole dizi in recent 70 years, and emphasizes the solo playing of musical instruments, and then with two solos as an example, discusses the actual playing of the improved halftone dizi.
To be different from the playing of modern style music with the traditional 6-hole dizi, or improved dizi such as hole-added dizi or multi-hole dizi, the “Butterfly Dreams” and “Ah-Shi-Ma Ballad” referred to in this paper are played with halftone Dizi of Chen in D to interpret the abundant tone changes and special grace playing skills. In trying to retain the unique features of the traditional dizi such as tone, playing skills and grace tones, it has found the breakthroughs in the playing interpretation of improved musical instruments and playing of modern music. It does not only include the basic analysis of musical composition structures but also offer some playing methods and interpretation viewpoints on halftone Dizi of Chen.
