透過分析整理近期臺灣作曲家創作的兩首嗩吶作品，以供後續作曲家們在創作新的嗩吶作品時參考，2013年創作的《乙未1895》是嗩吶演奏家林子由委託作曲家劉昱昀創作的第二首嗩吶協奏曲，委託訴求是希望作曲家在創作時可以突破2010年所作的《遊子吟》，創作一首新型態的嗩吶協奏曲，有別於《遊子吟》較為東方的寫作法，《乙未1895》選擇比較西方交響樂的演奏形式，一大部分引用史特拉汶斯基衍生自林姆斯基-高沙可夫「金雞」的樂風，不過語法上更為大膽，複雜節奏交錯，卻又不乏優美旋律。由於芭蕾音樂在節奏上的要求多樣複雜，而《火鳥》正好符合這樣的特質，嗩吶協奏曲《乙未1895》是以臺灣抗日之「乙未戰爭」為背景寫作，在快板段落汲取了《火鳥》中「兇惡之舞」段落旋律為素材，並採用其半音動機和多種復拍加以創作，或許作曲家的突破重點有一部分在節奏與臨時升降音上。筆者透過對於作品背景的初步了解，以及分析其應用在樂曲上的可能性，再試著建立其背景與音符、樂句、段落之間的連節加以詮釋，希望能讓演出者與聆聽者更能體會、了解到這首作品背後龐大的文化內涵及歷史足跡。
Through the analysis and collation of the two recent Suona works created by Taiwanese composers, the paper is written to provide the reference of subsequent composers when creating new Suona works. Yiwei 1895, which was completed in 2013, is the second Suona Concerto created by the composer Liu Yuyu, to complish the Suona performer Lin Ziyou commission . The entrusted appeal is to hope that the composer can break through the Suona Concerto You Ziyin that he composed in 2010, and create a new form of Suona concerto. Despite from the Eastern writing style of You Ziyin. Yiwei 1895 chooses the performance form which is more close to the western symphony. A large part of the work cites Stravinsky’s music style of "Golden Rooster" derived from Lymsky Koshakov. However, it is more bold in grammar, complicated in rhythm and beautiful in melody. Because the rhythm requirement of ballet music is various and complex, and Firebird exactly accords with this characteristic, the Suona Concerto "Yi Wei 1895" is based on the background of Taiwan's "Yi Wei War" against Japan, and draws the melody of "Bad Dance" in Firebird as the material in the allegro part, and uses its half-tone motion and multiple duplicates to create it. Maybe the composer has made a breakthrough in some of the points in rhythm and temporary rising and falling tones. Through a preliminary understanding of the background of the work and an analysis of the possibility of its application in music, the writer tries to establish a link between its background and notes, phrases and paragraphs to explain it, hoping that performers and listeners better appreciate and understand the huge cultural connotation and historical footprint behind the work.
