自從1951年，李奧‧芬達(Leo Fender)在美國發明了世界上第一把電貝斯(Electric Bass)後，短時間內就在美國及歐洲影響了許多重要的音樂作品。電貝斯聲部的編創，也開始成為許多西洋流行音樂風格發展與改變的要素，然而，在台灣的碩博士論文及研究期刊中，關於電貝斯聲部或稱低音旋律線(Bassline)運用於音樂風格的相關文獻相當罕見，至於電貝斯如何深刻地影響了台灣音樂文化發展的課題，系統性的討論也付之闕如。
因此，筆者將以自身參與編創電貝斯聲部的作品《漂流瓶》、《天鵝湖》、《日月》為例，探討電貝斯聲部編創原則實際運用，以及音樂風格類型分析，另外，本論文將以電貝斯為主軸展開研究，藉由訪談知名電貝斯手包含邱培榮、早川徹(Toru Hayakawa)、吳馬丁(Martijn Vanbuel)等，以及整理相關文獻，探討在編創電貝斯旋律時，需要優先重視的面向為何，是旋律性還是律動感？音符與節奏如何選擇？其次，在編創電貝斯聲部時，如何運用不同的流行音樂風格？進而與筆者本身經驗結合，整理出編創電貝斯聲部時應該重視的原則與方向。本研究的進行預期能增加對電貝斯與台灣流行音樂的型塑間密不可分的關聯的理解，並勾勒出電貝斯在不同音樂風格裡編創手法的應用。
Since 1951, Leo Fender has invented the world's first electric bass in the United States, and has influenced many important musical works in the world. The creation of the electric bass sound department has also become an element of the development and change of many Western pop music styles. However, in Taiwan's master's thesis and research journals, the related literature on the use of bassline in music style is quite rare.
The author will participate in the creation of the bassline of the works "Drift Bottle", "Swan Lake", "Sun and Moon" as an example, to explore the practical application of the principle of the creation of electric bass. And then, this paper will focus on bass as the main axis. By interviewing well-known bass players, including Pei-Rong Chiu, Toru Hayakawa, Martín Vanbuel, and the related literature, to explore the reasons for the priority in the creation of the bassline: How to choose a melody or a rhythm? How to choose bass notes by melody and chord? How to use different pop music styles when creating the bassline? The study is expected to increase the understanding of the inextricable relationship between electric bass and the popularity of Taiwanese pop music.
