本研究以臺灣作曲家林心蘋之琵琶協奏曲《沙鯤漁火》作為撰寫主題。該樂曲為較近期的作品，是林心蘋所創作的第二首琵琶作品。
2019年，台南樂集委託林心蘋創作琵琶協奏曲《沙鯤漁火》，樂曲於當年6月完成，同年7月21日由廖欣恩與台南樂集於《臺江音畫》上首演，筆者於2020年2月在網路影音平台上搜尋到當時演出的影片，該場音樂會中另有《安平晚渡》、《鹿耳春潮》兩首樂曲，上述兩首與《沙鯤漁火》三首樂曲之曲名皆出自清代《臺灣府志》中《八景詩》的詩作標題。
《臺灣府志》為清領時期高拱乾所著作方志，《臺灣八景詩》收錄於卷十〈藝文志〉中的〈詩〉篇，八景則由高拱乾在編修《臺灣府志》時選定。
本文首先先說明此次研究的動機與目的、方法與範圍，其次討論《臺灣府志》與《臺灣八景詩》，再論及作曲家林心蘋音樂與學習歷程，再透過樂曲分析與演奏詮釋，解析作曲家創作理念。藉由本次研究，筆者對於演奏技巧的安排以及樂曲表達之情與境有更多元的思維。
The purpose of this study was focused on the Pipa Concerto "Fishingboat Lights of Shakun" interpreted by Taiwanese composer Sin-Ping Lin. The composition is a relatively more recent work to Sin-Ping Lin, and it is also her second creation of music of Pipa.
Back in 2019, Sin-Ping Lin was entrusted by Tainan Chinese Orchestra to write the Pipa Concerto "Fishingboat Lights of Shakun", the song was completed in June of that year, and it was first debuted at the concert of "Taijiang tone painting" by Xin-En Liao and Tainan Chinese Orchestra at the same year on 21 July. The music video that was performed at that very time is founded on an online music platform in February 2020. At the concert, there were two other pieces played, which was "The Night Ferries of Anping" and "Springtides at Luer", the name of both pieces that were mentioned above along with "Fishingboat Lights of Shakun" were all came separately from the poem title of "Taiwan Gazetteers" and "Eight Views Poetry" of Ching Dynasty.
"Taiwan Gazetteers" was a literary work of Gong-Chian Gao during the Ching dynasty period, as for "Eight Views Poetry", it was recorded in the number 10 volume of "Yiwenzhi" of its Chapter "Poetry", and the Eight Views were selected by Gong-Chian Gao when he was edited "Taiwan Gazetteers".
This study was first explained the objective and purpose, methods, and scope of this research, and then discussed "Taiwan Gazetteers" and "Taiwan Eight Views Poetry", after carrying out the music of composer Sin-Ping Lin and her learning journey, then explained the composer’s creation philosophy through music analysis and performance interpretation. With this paper, the author has had more thinking about the arrangement of performance techniques and the situation of the environment of music expression.
