本研究以樊慰慈《阿拉貝斯克》、邱霽《神人暢》、劉樂《戀春風》三首於近幾年內所創作或改編的樂曲，進行深入的詮釋分析，探討傳統箏樂的特色及其在近現代音樂中的發展面相。論文共分為五章：第一章為緒論，包含研究動機與目的、研究範圍與方向、研究方法與步驟及文獻探討；第二、三、四章分別為《阿拉貝斯克》、《神人暢》、《戀春風》的樂曲分析和詮釋探討；第五章為結論，筆者彙整三首箏曲的特點及作曲家的獨特風格，研究發現其創作的架構均頗富個人獨特的風格與手法，將傳統箏樂的創作理念根植在樂曲中，再賦予新的創意及思維，並採用不同的音樂素材，使樂曲風格更為多元、豐富。樊慰慈善用移動雁柱以及按音的特性，將中國五聲音階與中東曲調結合於定絃中；邱霽將古琴曲依照傳統箏樂的音樂架構進行改編，將古琴的特性注入在古箏上，以模仿的型態描繪音樂內涵；劉樂在流行音樂及傳統箏樂之間的取得平衡，採用簡潔的音樂元素編織唯美浪漫的樂曲。
本論文透過對三首風格迥異的近代箏樂作品之研究，體現各個作曲家的不同創作觀點與思維，經過進一步的詮釋與分析，期使現代箏曲的藝術風格能有更清晰的呈現，並能提供相關領域的研究者更多的參考，為箏樂發展開拓多元的思維。
This research analyzes the scopes in three contemporary works for zheng: Arabesque by Fan Wei-Tsu, Shen Ren Chang by Chiu Chi, and Love in Spring Breez by Lui Le, to explore the development of traditional music features in the world of modern music. This study is divided into five chapters. Chapter One provides an introduction to this research, including the research motive, study scope, methodology and literature review. Chapter Two, Three and Four are devoted to the study of three major works Zheng: Arabesque、Shen Ren Chang、Love in Spring Breeze. It also includes structural and performance analysis. This study has found that the creation is composed of unique personal style as well as including the traditional Zheng theories in the root of its musical works, while using creativity to bring new ideas and using different music materials. This allows the works of music to be more diverse and rich in style. Fan Wei-Tsu makes good use in the characteristics of the mobile bridges for Zheng, the Chinese pentatonic scale and the Middle East are bound to tune a stringed instrument；Chiu Chi use Guqin music song according to the traditional architecture adapted music, injected the characteristics of Guqin into the Zheng, to mimic the patterns depict the connotation of musical；Lui Le made between popular music and traditional music of Zheng balance, using simple musical elements weave beautiful and romantic music.
Through this study, three of the Zheng music creations and adaptation works reflect the composer's creative ideas and thinking, which allows the artistic style of Zheng music to be presented in a more complete manner. We hope to provide researchers in related fields more assistance in the development of Zheng’s music and open up a new way of thinking for Zheng music.
