李鎮是中國著名的笛子演奏家，在笛子藝術上投入多年的精力實踐與研究，對中國笛子藝術發展有著重要的貢獻及影響力。李鎮的演奏風格獨特，在他的演奏中可以聽到北派的粗獷豪放、南派的溫文儒雅、新派華麗的裝飾手法及歌唱性神韻，音色豐富多變、集眾家所長於一身，加上長期生活在內蒙古的體驗和累積，將所聽、所學的蒙古族音樂語法融入笛子的演奏當中，創作出多首富有蒙古族音樂特色的作品，也因其笛韻具有濃郁且道地的蒙古族音樂特色，在笛壇中獨樹一幟。除了獨特的演奏風格外，在樂器改革方面李鎮也不留餘力，成功開發出以環氧樹脂（又稱玻璃鋼）為材料的低音雙膜大笛，保留笛子的傳統音色並克服笛子本身的乾裂問題，更在傳統六孔形制笛子上開發出超吹音指法，使笛子音域可達到三個八度。
本文透過現有文獻、網路資料、曲譜及實地與李鎮的訪談，將李鎮的藝術生涯、創作與創新、演奏特點、蒙古音樂語法在笛子演奏中的運用等做一個系統化的整理，期盼可將李鎮獨特的笛子藝術保存，也讓後來之人在演奏、創作、創新等方面能有一份資料參考，為中國笛子的發展與延續盡一份微薄之力。
Master Li Zhen is a well-known Dizi performer in China. He dedicates his music passions to his compositions, and he has made great efforts in relations to researches of Dizi. The interpretation by Li Zhen is featured in his unique textures: the rough sound from the North mixes the tender sound from the South. In addition, he has lived in Inner Mongolia for many decades. It can be heard in his musical works and his performances with unique Mongolia music styles. Li Zhen has profound influences upon Dizi. Moreover, Li Zhen is succeed in revising different kind of Dizi. For instance, he made a breakthrough to expand more octaves by developing new fingering on traditional Six Holes Dizi. Li Zhen has created a Double-filmed Bass Dizi which is made of glass steel. This new instrument can avoid to dry and crack from the traditional Dizi.
This dissertation is aim to analyze and to organize the discourse of the performance, interpretation, compositions and innovations of Dizi by Master Li Zhen. The discourse is based on the preferences, scores and interview with Li Zhen. It can be seen as a reference of Dizi for other Dizi performers in terms of performances, compositions and innovations.
