本論文的研究以陳銀淑(Unsuk Chin, b. 1961)的《古伽隆——街頭劇的場景》為例，探 討現今作曲家作品中的混合文化現象。《古伽隆——街頭劇的場景》使用嚴肅音樂的創作語 法，配器加入了世界各地的打擊樂器，在傳統與創新上找到一個絕妙的平衡。在分析《古伽 隆——街頭劇的場景》後，筆者開始思考創作要如何融合多種不同文化的音樂元素?以及現 今的混合文化對於音樂作品有何影響?因此決定以作曲家的混合文化背景為研究主軸，並將 其融入自我創作《山神》中。
本論文分為五章，第一章「緒論」，闡述研究動機、研究方法以及論文架構，以及混合
文化的名詞釋義。第二章以陳銀淑為例，探討現今的作曲家的混合文化背景。第三章以《古
伽隆——街頭劇的場景》為例，從配器細觀混合文化背景如何體現於作曲家的作品中。第四
章「自我創作之實踐」，取自筆者譜寫之二管編制交響樂《山神》，剖析混合文化對於自我
創作之影響。第五章為「結語」，總結了整個研究，除了討論混合文化，同時也對於作曲一
事的自我檢視，還有未來音樂發展的個人想法。

The study of this thesis takes Unsuk Chin's Gougalōn—Scenes from a Street Theatre as an example to explore the phenomenon of mixed culture in the works of contemporary composers. This musical composition, while employing the compositional syntax of serious music, achieves a marvelous balance between tradition and innovation by utilizing percussion instruments from around the world in its orchestration. After analyzing Gougalōn—Scenes from a Street Theatre, I contemplated integrating music elements from different cultures in my own compositions. Furthermore, I am interested in exploring how today's hybrid culture influences musical compositions. As a result, I have chosen the composer's mixed-cultural background as the primary focus of my research and plan to incorporate it into my orchestral work, The God of Mountain.
This thesis is divided into five chapters. The first chapter, “Introduction”, expounds on the research motivation, research methods, and thesis structure, and thesis structure and defines mixed-culture. The second chapter takes Unsuk Chin as an example to discuss the mixed-cultural background of contemporary composers. In the third chapter, Gougalōn—Scenes from a Street Theatre is examined as an example to observe how the composer's mixed-cultural background is reflected in their works from the perspective of orchestration. The fourth chapter, “The Practice of Self-Creation”, analyzes the influence of mixed culture on self-creation by analyxing of the author's symphony, The God of Mountain. The fifth chapter, “Conclusion”, summarizes the entire research, discussing not only mixed culture but also serving as a self-examination of composition and providing personal thoughts on the future development of music.

中文期刊
游添富。2001。〈民間音樂在巴爾托克創作上的應用——分析Concerto for Orchestra〉《議藝份子》NO.4，(三月號，2002）：171-194

中文學位論文
許芳琪。2016。《移民文學的離散與文化認同：以顧肇森作品為例》。清華大學碩士論文。

陳筱淇。2019。《從文字與音樂的結合談自身創作「凌晨三點三十」》。國立臺北藝術大學碩士論文。
劉韋志。2011。《存在的建構——我的創作理念與創作歷程的檢視》。國立臺北藝術大學碩士論文。
趙立瑋。2013。《乙太之能原創管絃樂作品與註釋》。交通大學碩士論文。

游于瑩。2014。從尹伊桑《歌曲》(Gagok) 看東西方文化下音樂的表述 / 游于瑩作曲音樂會。東吳大學碩士論文。

外文專書
Constantin Brăiloiu, Aksak Rhythm in Problems of Ethnomusicology, ed. L. Lyord (Cambridge: Cambridge University Press), 1984.
Stefan Kostka, Materials and Techniques of Twentieth- Century Music -3rd ed, Pearson Prentice Hall. 2006.


外文期刊
Nice, Fracile. The "Aksak" Rhythm, a Distinctive Feature of the Balkan Folklore. In Studia Musicologica Academiae Scientiarum Hungaricae. Hungary, Akadémiai Kiadó, 2003. p.197-210
Charles Burkhart. Schoenberg's Farben: An Analysis of Op. 16, No. 3. Perspectives of New Music , Autumn, 1973 - Summer, 1974, Vol. 12, No. 1/2 (Autumn, 1973 - Summer, 1974). Perspectives of New Music, pp. 141-172.
C van Campen. The Proust effect: The senses as doorways to lost memories (translated by J Ross); Oxford University Press, Oxford, p.192.

外文學位論文
Miyoun Jang, B.M., M.M., A comparative study of piano etudes by György Sándor Ligeti and Unsuk Chin: A technical and stylistic guide to mastering the difficulties of their etudes, University of North Texas, 2018.
Soo Kyung Kim. A study of Unsuk Chin’s piano etudes, The University of Georgia, 2012.

節目冊
林芳宜。2021。〈國際當代樂壇的亞洲女力〉。《2021衛武營 TIFA 當代音樂平台》

網路資源
後殖民主義 (postcolonialism)
http://praxis.tw/archive/postcolonialism.php

Benedikt, Stegemann. “into…Kompositorische Annäherungen an Istanbul, Dubai, Johannesburg und Pearl River Delta”. Frankfurter Allgemeine Zeitung. 2008.
https://www.ensemble-modern.com/de/projekte/archiv/into-2008-09

Laurent, Feneyrou. “Portrait Unsuk Chin”. Festival-Automne.
https://www.festival-automne.com/en/portrait/portrait-unsuk-chin?sid=47

Siemens Art Program
https://new.siemens.com/global/en/company/sustainability/arts-program.html

UNSUK CHIN INTERVIEW Daring to Cross Many Boundaries
https://usasians-articles.tripod.com/unsuk-chin.html

Boosey and Hawkes Unsuk Chin Portrait
https://www.boosey.com/composer/Unsuk+Chin

Unsuk Chin: grinning teeth and false magic in Gougalōn
https://theaderks.wordpress.com/2019/04/22/unsuk-chin-grinning-teeth-and-false-magic-in-gougalon/
衛武營專訪2021
https://www.musico.com.tw/musico%E7%89%B9%E5%88%A5%E5%A0%B1%E5%B0%8E%E4%BA%BA%E7%89%A9%E5%B0%88%E8%A8%AA2021%E8%A1%9B%E6%AD%A6%E7%87%9Ftifa%E7%95%B6%E4%BB%A3%E9%9F%B3%E6%A8%82%E5%B9%B3%E5%8F%B0/
衛武營專訪2022

https://read.muzikair.com/us/articles/95d27ed2-57fe-4296-9609-6f85c3e3c681
Unsuk Chin - Festival Composer and artist in residence 2019

John Cage 《Living Room Music》
https://johncage.org/pp/John-Cage-Work-Detail.cfm?work_ID=112

破銅爛鐵樂隊維基
https://zh.wikipedia.org/zh-tw/%E7%A0%B4%E9%93%9C%E7%83%82%E9%93%81%E4%B9%90%E9%98%9F

Justin London, Rhythm (from Gk. rhythmos; Lat. rhythmus; Fr. rythme; Ger. Rhythmus; 16th-, 17th-century Eng. rithme), Grove Music Online, 2001.

石黑一雄維基百科
https://zh.m.wikipedia.org/zh-tw/%E7%9F%B3%E9%BB%91%E4%B8%80%E9%9B%84

石黑一雄訪談
https://web.archive.org/web/20120202152336/http://bombsite.com/issues/29/articles/1269

黃宣衛。2016。〈阿美人的kawas觀念與宗教生活〉https://ihc.cip.gov.tw/EJournal/EJournalCat/308。

Zih-Hong, White Lin。2015。〈祖靈 utux〉。《人、山川、海洋。原住民環境知識匯聚平台》http://iknowledge.tw/tsou/node/941。

呂鈺秀。2010。〈原住民樂器〉。《台灣大百科全書》。https://nrch.culture.tw/twpedia.aspx?id=21267

陳筱君。〈日月潭逐鹿的傳說——跟著郵筒深度遊（二）〉。https://www.post.gov.tw/post/FileCenter/post_ww2/Bulletin_File/files/1499041492417/0CD1B89E-F97E-48AF-8EB6-33F53C6CACA5.pdf

其他
佚名。《山海經·海外北經》。

西格蒙德·弗洛伊德。《夢的解析》全文。http://www.b111.net/novel/49/49357/index.html