作曲家王建民的二胡作品從1988年《第一二胡狂想曲》到2019年的《第五二胡狂想曲—贊歌》共橫跨了31年，讓王建民成為當今最活躍的著名作曲家之ㄧ，而他的狂想曲系列作品中，最具創作特色的演奏新技法更成為二胡專業院校展演、比賽、教育上的新指標。
本文以2019年第十二屆中國音樂金鐘獎二胡比賽的委約指定曲《第五二胡狂想曲—贊歌》作為撰寫研究，作品採用內蒙古民歌風格作為樂曲的基調，也首次使用副標「贊歌」為此來紀念對中國七十週年的讚頌，筆者首先對作曲家王建民的生平背景及創作理念、樂曲結構、演奏詮釋及技法進行蒐集、統整、分析並加以梳理歸納，尤其對《第五二胡狂想曲—贊歌》之特殊技法深入探究。再者筆者以二度創造的角度來重新演繹，期望能具體呈現作曲家王建民《第五二胡狂想曲—贊歌》的創作背景理念及作品意涵，希冀對二胡未來的藝術發展及演奏新技法上能有所貢獻。
The erhu works of composer Wang Jian Min spans 31 years from Erhu Rhapsody No.1 (1988) to Erhu Rhapsody No.5: Hymn (2019), making him one of the most active and well known contemporary erhu composers. The most stylish techniques in his rhapsody series have even become the new criteria for performances in conservatories, competitions, as well as teachings of erhu.
This thesis takes Wang’s Erhu Rhapsody No.5, the commission work of The 12th Golden Bell Award of Erhu Competition, as the research subject. The composition adapts Inner Mongolian folk music as the main key of the composition and subtitles “Hymn” for the first time to commemorate the 70th year of Chinese hymn. This thesis explores, analyzes, and contextualizes the life of the composer, concepts, musical structures, interpretations, and techniques of Wang Jian Min, particularly the special techniques in Erhu Rhapsody No.5. Besides, the thesis provides a rendition of the piece from a second-creation perspective to present specifically the background ideas, and the meaning of Wang’s Erhu Rhapsody No.5. in the hope of contributing to the artistic development and new techniques of performance of erhu.
