本論文以柳琴曲《花鼓戲幻想舞曲》、《鳳陽花鼓狂想曲》兩首之分析音樂、素材及演奏詮釋為主。《花鼓戲幻想舞曲》為作曲家關迺忠2010年創作的柳琴協奏曲，創作素材以湖南花鼓戲和拉赫曼尼諾夫三首交響曲為樂曲創作構思；《鳳陽花鼓狂想曲》為台灣柳琴演奏家陳怡蒨委託，作曲家彭郁雯於2007年創作的柳琴二重奏樂曲，創作素材以安徽鳳陽花鼓為樂曲創作構思；湖南省花鼓戲以及安徽省鳳陽花鼓都有淵源流長的發展歷史，反映當時社會變遷與生活型態，音樂是人民情感的宣洩，民間藝術漸趨萎縮與絕跡，現代作曲家再次把地區代表的音樂以新的面貌與不同的創作手法，給予樂曲有突破的表現方式。
本文會各別以《花鼓戲幻想舞曲》及《鳳陽花鼓狂想曲》樂曲創作背景來探討；其次從湖南花鼓戲與安徽鳳陽花鼓之歷史脈絡論述，進而分別探討兩首樂曲分析與演奏詮釋。
This paper focuses on the analysis and the interpretation of the two Liuqin pieces “Huagu Opera Fantasy song”and”Fengyang Huagu Fantasy Song”. “Huagu Opera Fantasy song” was first composed by Kuan Di Zhong in 2010, and the inspiration was based on Hunan Huagu opera and the three symphonies of Segei Rachmaninov. “Fengyang Huagu Fantasy Song”, entrusted by Taiwanese Liuqin performer Chen Yi Qian, is a Liuqin duet duo composed by Peng Yu We in 2007, inpired by Anhui Fengyang Huagu songs. Both the Huagu opera of Hunan and the Fengyang Huagu of Anhui have a profound and long history, which reflects the change of society and lifestyle of people at that time. People often resort to music to release their emotions. Music also represents the growth and decline of folk art. And modern composers often add new features and creativity to the dinstinctive regional music.
This paper will discuss the historical background of “Huagu Opera Fantasy song”and”Fengyang Huagu Fantasy Song”. What follows, based on the history of Hunan Huagu Opera and AnHui Fengyang Huagu, is the the analysis and the interpretation of the two songs.
