京劇在中國藝術表演史中，堪稱最具代表性的劇種之一。1960年代，有感於當時中國社會對西方音樂接受度還不高，中央樂團業餘創作組以京劇元素作為題材，創作了交響樂團版本《穆桂英掛帥》。繼首演成功之後，此部作品受到莫大的關注，包括中國作曲家關迺忠先生以及新加坡作曲家楊培賢先生皆陸續為這部作品改編、移植為國樂合奏版本。
此部作品承襲了西方交響詩的體裁，以西方管弦樂法融入京劇唱腔、曲牌以及鑼鼓經特色成為具有代表性值中國式管弦樂作品。在關迺忠的國樂合奏改編版本中，則以交響樂版本為藍圖，將此曲以中國樂器編配，重新詮釋作品。
本文以作曲家關迺忠版本之《交響詩－穆桂英掛帥》為研究對象，內容首先探討近代國樂發展以及京劇；其次為討論作品之創作背景；其三，則是《交響詩－穆桂英掛帥》之中、西樂曲版本比較；最後探究此樂曲結構風格與指揮演奏詮釋。在此次研究中，透過《穆桂英掛帥》交響詩的分析與探討，期望對國樂指揮藝術及京劇戲曲研究皆能有更深一層的瞭解。
The Pecking Opera, one of the highest drama level in the history of the Chinese performing arts. In 1960, the Chinese symphonic poem《Mu Guiying Takes Command》,which is using materials from Pecking opera was composed by Group of Amateur composers of the Central Symphony Orchestra. After the great debut in the same year, this work was later rearranged or transplanted to Chinese orchestral editions by Chinese composer Guan, Nai-Zhong and Singapore composer Yang,Pei-Xian.
The original edition was in the construction of the western form from “Symphonic Poem” and combined the Orchestration and Pecking Opera materials in together. In Guan’s edition, based on the original edition, was more emphasis on the traditional interpretations of the Pecking Opera materials and the Chinese instrumentation and gave this work a whole new interprets.
The study focuses on analysis of music construction、historical background、Pecking Opera materials research、 editions comparison and conducting interpretation. Through the researching process, it could be a great help for understanding the artistic value of traditional Pecking Opera and this magnificent work, 《Mu Guiying Takes Command》.
