本論文旨在探究蒙古音樂素材於胡琴作品中的運用，並以周成龍《科拉沁草原的傳說》中胡協奏曲作為分析與詮釋。中胡為1940年代民族樂團交響化所產生的樂器，而劉明源於1956年創作了第一首中胡獨奏曲《草原上》後，使中胡也成為了一項獨奏樂器，讓許多作曲家開始嘗試創作中胡作品，而其中許多運用蒙古音樂素材來創作，《科拉沁草原的傳說》便是其中之一，筆者希望能透過此次論文的研究，對此作品能有更深入的了解，並探討如何將蒙古族音樂的特色運用在胡琴上。為了更理解蒙古音樂，筆者將從蒙古族的音樂特色著手，說到蒙古音樂最重要的三個特點就是長調、短調與呼麥，長調與短調為民歌的種類，呼麥是一種特殊的發聲技巧，而蒙古族的代表性樂器之一為四胡與馬頭琴，皆為蒙古族人演唱時陪襯的重要樂器，筆者將從這些方面進行探討，進而透過周成龍創作的《科拉沁草原的傳說》作為研究與演奏詮釋的實例。此曲是一首蒙古韻味相當濃厚的中胡作品，其中運用了許多馬頭琴與四胡的演奏技法與特色。筆者希望藉由本次研究及探討，加上對樂曲的分析與個人詮釋，讓後續演奏者對此作品能有一份參考價值之文獻。
This research is mainly studying how Mongolian music elements are used in erhu compositions, by analyzing and interpreting “Legends of Kelaxin Grassland”; a zhonghu concerto composed by Zhou Cheng-Long. Zhonghu is an instrument invented in 1940’s due to the Symphonization of Chinese orchestra. Since Liu Ming-yuan composed the first zhonghu solo work “On The Grasslands” in 1956, making zhonghu a solo instrument, many composers start composing for zhonghu, many of them used Mongolian music elements in their work, and“Legends of Kelaxin Grassland” is one of it. The author wishes to understand more about zhonghu and this music piece through the research, and also study how Mongolian music style applies on zhonghu.In order to learn more about Mongolian music, the author will start by studying the Mongolian music style, the three most important characters of Mongolian music are long song, short song and Khoomei. The long song and short song are types of folk song, and Khoomei is a special technique for singing. Sihu and Matouqin are the representative instruments of Mongolia, both accompany while Mongolian sings. The author will study through these aspects, and also how they apply in “Legends of Kelaxin Grassland” composed by Zhou Cheng-Long. This piece of zhonghu is full of Mongolian music elements, many techniques and characters can be found in the piece. The author wishes to contribute the studies and performers of “Legends of Kelaxin Grassland” through this research and the analysis and interpretation of this music piece.
