時代的演進，不論是樂器的改革或是笙曲的創作，使近年來的笙創作曲，大都為音域較廣泛且半音完整的高音鍵笙而作，因為鍵笙的音域寬， 比傳統笙演奏要來得方便，但唯有傳統笙華麗的音色、吹奏的手法以及特有的技巧是鍵笙所不能做的。
筆者認為身為當代笙演奏家，除創新改革外，能保留傳統笙及傳統樂曲，不失傳統原貌，是很重要的一環；因此筆者選擇近代作曲家唐富與其三首作品為研究對象，其一，唐富為笙界藝術帶來很大的貢獻，其二，三首作品分別為唐富三個時期的經典作品，為《林海新歌》，以及《天鵝暢想曲》，最後為《山寨風》。
筆者藉此研究，近身對唐富在笙的發明及創新技巧，並整理作品等相關文獻做一系列更深入的探究。也期許此論文能對於未來笙演奏者以及研究同好，提供參考。
As time goes by, development of instrument revolution and sheng musical composition both have taken giant progress. Nevertheless, new pieces are written mainly for keystroke sheng in recently years due to its wide range and complete half notes. Undeniable, keystroke sheng are much more convenient than traditional sheng because of wide range while playing. However, splendid tone color, playing style and unique techniques featured traditional sheng are still irreplaceable. As a contemporary sheng musician, protecting intact nature of sheng and conserving traditional instrument structure as well as compositions are also crucial in the following development. Therefore, the author selected Tung Fu’s three pieces as research subject; Wind from the Mountain Fortress brought significant contribution toward sheng art field; Forest heroes, Imagination of the Swan are also classics which are representative of the composer’s three phases separately. In addition to research Tung fu’s invention and innovative techniques toward sheng, the author is also able to do further exploration on his compositions and documents through the research. The thesis is expected to provide worthy and rich materials to future sheng musician and research peers.
