20世紀上半葉，中國音樂文化面臨來自西方的衝擊。劉天華身處於這樣的時空，以其「中樂為主，西樂為輔」的主張積極的投入國樂改革。抱持著這樣的想法，劉天華在三首琵琶獨奏曲《歌舞引》，《改進操》，及《虛籟》的創作手法以及記譜法上進行多種嘗試，企圖將西方音樂的元素融入中國傳統音樂中，讓國樂突破舊有的思維。本文首先概述劉天華生平、創作背景與理念。再個別分析三首琵琶獨奏曲的樂曲結構並提出詮釋心得。希望透過此次的樂曲研究得以讓喜愛琵琶音樂的同好能進一步了解劉天華所創作琵琶曲中蘊含的思想，將來在演奏或聆賞樂曲時有更深的體會。
During the first half of the 20th century, Chinese music have been confronted with tremendous impact coming from Western world. During that time, Liu Tian Hua proposed to reform classical Chinese music with the idea of “Chinese music supplement with Western music.” With this thought, Liu made several attempt in his three Pipa solo songs, “Dance Prelude (Gē Wǔ Yǐn),” “Improved Étude (Gǎi Jìn Cāo),” and “Sound of Emptiness (Xū Lài),” trying to infuse Western music elements into Chinese traditional music. This study first introduces Liu’s life and his creation backdrop and ideals; and then respectively analyzes the track structure of the aforementioned three Pipa solo songs and the auther’s experiences of interpretation. Hoping through this music research, Pipa lovers could further identify with the hidden thoughts behind Liu’s creations and have deeper understandings when playing or appreciating these songs in the future.
