揚琴於明朝傳入中國後發展與進步得相當快速，近幾年來逐漸出現越來越多的揚琴創作作品，新生代的揚琴演奏家兼作曲家也開始如雨後春筍般增加。陳芸芸為近幾年來相當活耀的青年揚琴演奏家兼作曲家，作品中擅長將西方作曲技法與民間特色音樂做結合，筆者選擇她眾多作品中地域性濃厚的兩首作品《湘墨》與《蜀巷》作為研究。兩首作品一是以湘西的苗族音樂為元素進行創作；一是以陳氏故鄉四川成都的著名景點「寬窄巷子」作為題材所寫。透過分析作品與樂曲詮釋，筆者探討陳氏在虛與實、傳統與現代相互穿梭交錯的個人獨特創作風格。兩首作品皆使用揚琴演奏技法中的無序音區演奏音效，是從前揚琴作品中極其少見的。經過分類整理歸納文獻、樂曲曲式分析與樂曲詮釋後，筆者深入了解作品的含意與特色，進而有了更多的想法，將之融入在自己的演奏詮釋中。
Ever since the Yangqin was introduced into China in the Ming dynasty, it has become increasingly popular. In recent years, more and more musical works about Yangqin have been created. Yangqin virtuosos and composers have cropped up as well. Among them, Chen Yunyun has drawn much attention. She is good at infusing Western composition skills into Chinese folk music. In this thesis, I will study two of her endemic works: Enchanting Scenery of Wesern Hunnan and Lanes in Sichuan. The former musical production utilizes the elements of Xiangxi’s Miao folk music, while the latter is based on the Kuanzhai Lane in Chengdu, Sichuan, which is Chen’s hometown. By analyzing these two works created with the no counter principle, a principle seldom applied to the performance of Yangqin, I reveal Chen’s unique style that roams in-between reality and imagination, and tradition and modernity. After examining and categorizing research papers, music styles and musical interpretations, I know the essence of the works better and am thus able to incorporate my findings into my performance.
