自本世紀以來，簫樂藝術在臺灣音樂家們的努力下，創作出多元的當代作品。起先多以傳統民歌與地方音樂為創作素材，後因作曲家之投入，簫樂創作之曲風多有突破，更因當代作曲家之參與，成長背景的差異各有不同的思維，簫樂作品有其特殊風格，如以現代音響的素材為靈感，創作出有別於傳統簫樂風格的新樂曲。
在臺灣，簫樂的發展歷程中，陳焜晉以演奏家參與創作，陳中申則以演奏家兼作曲家投入簫樂，作曲家蕭泰然以浪漫手法創作簫樂，馬水龍更以現代創作手法創作出簫的新樂章；這些作品具有兩大特色：一為結合民歌以傳統變奏加花手法創作，加強樂曲演奏技巧與樂曲織度；二為結合東西音樂跨域多元的音樂風格，譜出新穎樂章。臺灣源自於多元文化的民族，善於吸收跨域的多元文化，形成多元的當代社會文化，此跨域、多元孕育在音樂上，成為新穎的音樂文化。
本論文之結構如下：第一章為緒論；第二章是介紹作曲家陳焜晉、馬水龍、蕭泰然、陳中申的生涯與樂曲創作背景；第三章樂曲分析與詮釋，了解樂曲的架構與創作手法，並將有使用之臺灣民歌與創作樂曲做對比，以及如何詮釋樂曲；第四章結論，探討簫作品未來發展趨勢與走向。
清楚簫樂成長歷程，了解樂曲背景、架構與如何詮釋樂曲演奏藝術，最終傳遞探析的簫樂珍貴內涵；驥期在簫樂藝術文化裡，起拋磚之作用，引領更多學習者投入簫樂之研究，使簫樂藝術更加提升。

Thanks to the relentless Taiwanese musicians, twenty-first century saw the abundant and diverse styles of contemporary works in the art of xiao music. At first, creators deployed traditional folk songs and local music elements as the materials in the works. Later on, with more composers involved, there have been many breakthroughs in the styles of xiao music works. Due to the participation of contemporary composers, with whose varied backgrounds, hence the diverse ideas and thoughts, the world of xiao music has bred new pieces inspired by elements such as modern sound effects, developing its own unique styles different from traditional ones.
In the development of xiao music in Taiwan, CHEN Kun-Jin participated in the creation of xiao music as a performer, and CHEN Chung-Shen engaged in xiao music as a performer and composer. For the perspective of composers, HSIAO Tyzen created xiao music with Western romantic techniques, and MA Shui-Long created xiao music with modern innovative techniques. There are two major characteristics in these works: the first one is to combine folk song materials with traditional variations and ornamentation, emphasizing the performance skills and enriching the music texture; the other is to combine the musical styles of Eastern and Western music to compose innovative pieces. Taiwan is consisted of multiple ethnic groups, and it naturally absorbs diverse cultures from multiple areas to form a diverse contemporary social culture. As a result, this diversity is nurtured and presented in music and becomes a fresh energy in music culture.
The structure of this thesis is as follows: Chapter One serves as an introduction; Chapter Two introduces the careers of composers CHEN Kun-Jin, MA Shui-Long, HSIAO Tyzen, and CHEN Chung-Shen, and the creation backgrounds of each piece discussed in this thesis; Chapter Three states the music analysis and interpretation to help understand the music structures and creation techniques, comparing the creations with the original Taiwanese folk song materials they used, if any. Also, the interpretation of the music is suggested. As the Conclusion, the tendency of future xiao music development is discussed in Chapter Four.
This thesis aims to understand the development context of xiao music, to analyze the xiao pieces mentioned in discussion, and to know how to interpret them in performance, and finally, to convey the precious value of xiao music. Hopefully, this thesis can play a role in the art of xiao music as a catalyst to ignite more passion for more researchers and learners to invest in xiao music researches, bringing the art of xiao music to the next level.

一、專書
林克仁。《中國簫笛史》。上海：上海交通大學出版，2009。
林瑛琪。《臺灣的音樂與音樂家》。臺北：臺灣書房，2010。
林衡哲，《深情的浪漫》，臺北：望春風文化，1999。
陳漢金。《音樂獨行俠馬水龍》。臺北：時報文化出版社，2001。
莊傳賢，蔡明雲，《蕭泰然世界級的臺灣音樂家》，臺北：玉山出版社，2006。
顏華容，《浪漫臺灣味》，臺北：時報文化，2002。
二、期刊
洪崇焜。〈馬水龍的音樂藝術：思想、技術與表現〉。《馬水龍作品學術研討會》。 (臺中：國立臺灣交響樂團，2007)：151-174。
徐玫玲。〈意與象之間－馬水龍音樂作品中視覺聯想之初探〉。《馬水龍作品學術研討會》。(臺中：國立臺灣交響樂團，2007)：69-86。
馬水龍。〈我的創作心路歷程〉。《馬水龍作品學術研討會》。(臺中：國立臺灣交響樂團，2007)：13-16。
陳俊斌。〈迴盪在水墨與油彩之間的音符－馬水龍教授作品中東方與西方音樂素材的對話與交融〉。《馬水龍作品學術研討會》。(臺中：國立臺灣交響樂團，2007)：195-214。
陳漢金。〈驀然回首，那人卻在燈火闌珊處－馬水龍的古箏獨奏曲《尋》〉。《馬水龍作品學術研討會》。(臺中：國立臺灣交響樂團，2007)：237-254。
顏綠芬。〈馬水龍的文化觀與音樂教育理念的實踐〉。《馬水龍作品學術研討會》。(臺中：國立臺灣交響樂團，2007)：21-42。

三、論文
王湘瑜。《洄瀾音詩與馬蘭姑娘分析與詮釋》。臺北：私立中國文化大學碩士論文，2016。
李佳馨。〈馬水龍《梆笛協奏曲》作品分析與指揮詮釋研究〉。國立臺灣師範大學碩士論文，2016。
林恩緒。〈洞簫在當代的音樂研究〉。佛光大學碩士論文，2011。