《鳳點頭》為大陸作曲家徐昌俊受新加坡華樂團委託創作而成。創作緣起從先有曲名再以京劇鑼鼓經為素材創作。作曲家為令樂曲與曲名相呼應，將傳統戲曲鑼鼓經套用在節奏上，突顯出揚琴的《點》和《線》，因而展現出較獨特的戲曲風味。
筆者將全文共分為五章，第一章為緒論。第二章除了介紹《鳳點頭》作曲家徐昌俊生平及重要歷程外，亦將《鳳點頭》樂曲命名的發想與構思加以統整。第三章以分析的角度去看《鳳點頭》，筆者將自己對於國樂團伴奏版本中的節奏、鑼鼓經、旋律、動機以及創作發展手法加以說明。第四樂章為樂曲詮釋部分，以筆者自身對《鳳點頭》的了解為出發點，闡述屬於筆者的詮釋觀點。第五章為結論，根據深入分析研究《鳳點頭》後彙整出筆者的心得。
Fengdiantou was composed by Hsu-Chang Chun, a Chinese composer, commissioned by the Singapore Chinese Orchestra. The origin of the creation began with the title of the piece of music, and then it was created with the material of Gong-drum mnemonic. In order to make the title and the song echo, the composer applied the traditional opera Gong-drum mnemonic to the rhythm, highlighting the "point" and "line" of the Yangqin, so as to present a rather unique style of opera.
This essay is divided into five chapters. The first chapter is about the introduction, and the second one not only introduces the biography and important events of Hsu-Chang Chun, the composer of Fengdiantou, but also summarizes the idea and conception of naming the title - Fengdiantou. The third chapter looks at Fengdiantou from an analytical point of view. The author explains the rhythm, Gong-drum mnemonic, melody, motivation, creating and development methods of the accompaniment version of the Chinese Orchestra. The fourth chapter is about the interpretation of the music. Depend on the understanding of Fengdiantou, the author expounds from the point of view of one’s own. Finally, the fifth chapter is the conclusion. The author summarizes and offers the thoughts according to the in-depth analysis and research of Fengdiantou.
