本文研究曲目《彌濃山鄉》、《心路》為作曲家黃振南（1968－）所創作之柳琴樂曲。《彌濃山鄉》引用了以高雄美濃地區為主的客家音樂為素材，使用了〈正月牌〉、〈半山謠〉、〈搖兒曲〉等歌謠旋律貫穿全曲，透過作曲手法，將熟悉且朗朗上口的旋律透過和聲、音樂織度融合演奏手法運用，拓展了音樂的架構及情感。《心路》則使用了一個簡單卻深刻的主題貫穿全曲，透過不同的變奏及演奏技巧拓展樂曲。本曲欲表現學習音樂歷程中，所遇到的困境及不安情緒，而後突破困境後的心情。
筆者從小於高雄長大，因此想多了解關於自己故鄉的相關音樂文化。而在透過鄭翠蘋老師接觸到《彌濃山鄉》與《心路》時，親切而富有思鄉情感的音樂流露，期待研究此二部作品，深入探析客家音樂的內涵與精神，也以演奏者角度，對學習之《心路》歷程加以探討與詮釋。
Mi Mong Mountain Area and Mood Course, the two particular pieces this article aims at, are works of composer Huang Zhen-nan.
In Mi Mong Mountain Area, Hakka music elements mainly of Meinong (A.K.A. Mi Nong) are referred to. The melodies of First Month Song, Half Mountain Folk Song, and Hush Baby Song are applied throughout the piece. With composition techniques such as harmony and texture along with the exercise of performance techniques, the framework and emotions of the music, of which melodies are already catchy, are expanded.
Mood Course, on the other hand, is put with a simple yet profound theme. The piece develops with musical variations and techniques. The piece eagers to express not only the uneasy moods and obstacles one could face in the journey of music learning, but also the moods one could gain as breakthroughs take place.
The author grew up in Kaoshiuong, in which countryside Meinong District is located, thus wishes to know more related music cultures of the hometown as possible. As the author came to know Mi Mong Mountain Area and Mood Course through guiding mentor Cheng Tsui-Pin, the music brought great cordialness and homesickness. Hope the research and analyses of the two pieces successfully and deeply probe into the connotative meanings and spirits. Also, as a performer and from such point of view, the author probes into and annotates the ‘mood course’ of one’s learning in music.
