高音鍵笙是由傳統笙改良後的樂器，研發至今不過60餘年，它是中國傳統樂器中較晚開發的獨奏樂器，其音色嘹亮優美，至今仍有許多作曲家為它進行創作。42簧高音鍵笙是最近由36簧高音鍵笙改良的樂器，音域更為廣闊。但目前的鍵笙作品仍是以36簧笙為主，42簧笙的作品屈指可數；在36簧笙發展的初期，因曲目匱乏，常移植小提琴的作品演奏，因此移植作品就成為36簧笙發展的一個重要階段。隨著科技的進步以及資訊快速的發展，36簧笙的樂器改革及演奏技術在近幾十年快速成長，更在近年新研發了42簧笙這項樂器，但由於樂器推廣時間不長，相對的作品也就稀少，故移植作品就成為42簧笙的演奏方向。而陳鋼(1935-)、何占豪(1933-)共同創作的《梁山伯與祝英台》，雖是小提琴協奏曲，但此曲富有濃厚的中國音樂風格，且音域及技術上，更能讓42簧笙發揮樂器特性。
本文要探討的是移植曲《梁山伯與祝英台》從小提琴曲移植到42簧笙的演奏特色和詮釋等，並對於創作背景加以研究，分析出全曲之架構、段落及演奏手法。希望藉由本文能對於筆者自身的演奏與詮釋更加精進，也期盼提供未來演奏這首樂曲者更豐富的資料，以達到傳承與推廣之目的。
The soprano keyed sheng is a contemporarily-developed instrument from traditional sheng with merely 60-years history, and is a late-developed solo instrument among Chinese traditional instruments. With its clear, loud and beautiful sounds, today, many composers compose for keyed sheng. The 42-pipe keyed sheng is a new-developed instrument from the 36-pipe keyed sheng with wider register but there are few works for it. During the primary stage of 36-pipe keyed sheng developed, due to the lack of repertories, performers are used to transplant pieces of violin, and therefore these transplanted pieces play an important role during the development of 36-pipe keyed sheng. With advancement of science and technology, the reform and improvement concerning the development and performing skills of the 36-pipe keyed sheng has also rapid increased in recent decades, and even encourage the development of the 42-pipe keyed sheng. The situation of a new instrument in its primary stage is the same, the repertories for the 42-pipe keyed sheng are rare, and the transplanted pieces become the main choice. The Butterfly Lovers Violin Concerto, composed by He Zhanhao (1933-) and Chen Gang (1935-), though as being a concerto for violin, carries strong aroma of Chinese music and is therefore transplanted to perform by many Chinese instruments, including the 42-pipe keyed sheng by making the most of it.
This study aims to probe into the performing features and interpreting methods of the 42-pipe keyed sheng while transplanting The Butterfly Lovers, and also processes the background research, analysis of musical structure and performing methods. It is expected not only to advance the author’s performing thought and interpretation but to provide future researchers with a richer reference for the purpose of transmission and promotion.
