【音樂】 第二二胡協奏曲

此協奏曲靈感來自台灣南部鄒族民歌，並採用少許素材變化而成主題。二胡獨奏開始時，以虛實音演奏揣摩山谷的回音。三個樂章以連續不斷方式演奏。
　　第一樂章以極少動機（D-E-E-F）不斷發展延續，在和弦變化前進時，形成統一概念不斷變換的音響色彩。第二樂章對比第一樂章的“不斷變化”，以“搖籃曲”來暫時歇息，成為這個樂章的主題。第三樂章在不安中被喚醒，帶有無窮動風格的五拍子怪異舞曲，樂曲漸漸回到最開始，回歸源頭的意圖在此表露無疑。
　　此曲雖採用民族素材，但是作者希望跳脫對民族音樂或國樂的刻板印象，即使民族風音樂也可能是非標題音樂（純音樂），又或者非標題音樂也可以有民族風格與色彩，這就是民族器樂最特殊的地方，也是最令作者嚮往的音樂烏扥邦。
（本曲榮獲文建會2003年民族音樂創作獎，協奏曲組第二名。）
The inspiration for this concerto comes from folksongs of the aboriginal Tsou tribe in Southern Taiwan, from which the main theme is derived. The erhu solo begins by imitatingechoes in a valley with transparent tones. The three movements are played without stopping. The first movement is developed from the minimum of motifs （D-E-E-F）, providing aunified concept while the tone colors shift withchord progressions. In contrast, the second movement offers temporary respite in the form of a lullaby. The third movement awakens in disquiet as a peculiar five-beat dance in the style of moto perpetuo. Eventually the music returns to the beginning, revealing the intent of tracing back to one's roots. Although the piece uses folk material, the composer hopes to break free from the stereotype of ethnic or Chinese music, stressing that ethnic music may be non-program music （abstract music）, or that non-program music can contain ethnic styles and colors. This, to the composer's mind, is the most special feature of ethnic instrumental music -- his musical Utopia.（This piece won Second Prize in the Erhu Concerto category at the 23 Council of Cultural Affairs Traditional Music Composition Contest.）