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In recent years, the pieces of erhu are increasing. In 2003. Council for Cultural Affairs of Executive Yuan held Chinese Music Competition. Among the contestants of erhu concerto, the top three Taiwanese composers stood out from others: Lu Yun, Liu, Shueh-Shuan, and Wang, I-lu. The author was one of the students of Master Wang, I-lu. The Concerto ‘‘Crazy’’ for Erhu was composed by Master Wang, I-lu and was authorized by Taipei Chinese Orchestra (TCO) in 2015. The author was particularly interested in the way that Mr. Wang used local materials of Taiwan into the works of erhu and that served the purpose and motivation of the study.
The research method of the study adopted interviews, data collection, literature analysis, piece analysis, and interpretation analysis. The data included interviews with composers and musicians regarding Beiguan, Taiwanese Opera, and Hakka Opera. The author investigated the implementation of the materials within the music, synthesized the data, and further analyzed the melody and interpretation methods. Through the research and analysis, the author grasped the application of the materials and performing style. The musical materials of Beiguan apply the format of “guo-nong”, insert a section of melody and play that part repeatedly. The Taiwanese operas adopt seven-word melody and “crying” tune to construct the lines of melody and express abundant emotions. The Hakka operas use three tunes of San-Ge-zi to consist of the melody, and the three different types of materials are interweaved into the melody freely. The key points of performing skill fall on the cooperation and practice between left and right hands. Different materials turn turns to emerge in the expression of “Crazy”, and display the emotional changes of the piece. From the study, it is hoped to encourage more Taiwanese composers to use local materials into their works and form a unique style of Taiwan music.
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