當代音樂具備創作模式動態多元、互動性高，以及尋求聲響上的突破等特點，作曲者和演奏者在創作過程中的合作更為密切，而雙方的合作過程也影響了作品最終的樣貌。因此，作曲者和演奏者之間的合作關係逐漸變成重要的研究議題，了解雙方合作互動的方式，能夠幫助作曲者和演奏者更有效率的進行合作。本研究訪談三組不同的臺灣音樂家：作曲者黃苓瑄與大提琴演奏者林聖宭、作曲者陳珩與笙演奏者李俐錦，以及作曲者潘家琳與薩克斯風演奏者顧鈞豪，並由訪談內容分析臺灣當代作曲與演奏的合作情形。本論文共分為五章：第一章「緒論」說明研究動機，並定義研究目的與研究範圍；第二章「文獻回顧」，爬梳作曲者與演奏者合作關係的歷史流變，並整理近年較為重要的作曲演奏合作理論與研究；第三章「音樂家訪談」詳述三組音樂家的合作歷程；第四章「綜合分析」比較三組音樂家合作關係的異同，分析臺灣當代音樂創作的趨勢，找出良好合作關係中的重要元素，並學習如何建立合作關係。此外，也提出對文獻中合作模式模型的修改建議。第五章「結論」，總論全文並提出研究心得。

Contemporary music is defined by its variety of creative approaches, pursuit of innovative sound exploration, and strong emphasis on interaction. Consequently, collaboration between composers and performers has become increasingly significant, with their interactions profoundly influencing the final form of a work. Investigating the collaborative relationship between composers and performers has emerged as a crucial topic, as understanding how to foster effective partnerships can enhance the co-creation of musical works. This study examines the collaborative dynamics among three pairs of Taiwanese musicians: composer Ling-Hsuan Huang and cellist Sheng-Chung Lin, composer Heng Chen and sheng player Li-Chin Li, and composer Chia-Lin Pan and saxophonist Chun-Hao Ku. Through in-depth interviews, this research explores the nature of collaboration in contemporary Taiwanese music. The thesis consists of five chapters. Chapter One outlines the research motivation, objectives, and scope. Chapter Two reviews the history and recent studies of composer-performer collaboration. Chapter Three details the collaborative processes of three musician groups. Chapter Four compares these collaborations, identifies key elements of success, and proposes adjustments to existing models. Chapter Five concludes with a summary and findings, aiming to deepen understanding of composer-performer dynamics and inspire more interactive, innovative music creation.

一、專書
潘淑滿。《質性研究：理論與應用（第二版）》。臺北：心理出版社，2022。
Auslander, Philip. “Music as Performance: The Disciplinary Dilemma Revisited.” In Taking it to the Bridge: Music as Performance, edited by Nicholas Cook and Richard Pettengill, 349- 358. Ann Arbour: The University of Michigan Press, 2013.
Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 7th ed. New York: W. W. Norton & Company, 2006.
Clarke Eric, and Doffman, Mark. Distributed Creativity: Collaboration and Improvisation in Contemporary Music. Oxford University Press, 2017.
Jamason, Corey. “The Performer and the Composer.” In the Cambridge History of Musical Performance, edited by Colin Lawson and Robin Stowell. Cambridge: Cambridge University Press, 2012
Sallis, Friedemann. Music Sketches. Cambridge: Cambridge University Press, 2015.
二、學位論文
Gawler, Brienne. “Creative Collaboration in Music: An Exploration of the Oboe in Australian Contemporary Repertoire.” Master of Music, Faculty of Fine Arts and Music, Melbourne Conservatorium of Music, The University of Melbourne, 2021.
Grant, Nat. “Music and Collaboration: Rapport, Leadership and the Role of the Individual in Collaborative Processes.” Master of Music Performance, The University of Melbourne, 2010.
Smith, Jonathan. “The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration.” Doctor of Musical Arts, Faculty of Music, University of Toronto, 2020.
三、電子期刊
Cardassi, Luciane, and Guilherme Bertissolo. “Shared Musical Creativity: Teaching Composer-Performer Collaboration.” Revista Vortex 8, no. 1 (2020): 1-19.
Fitch, Fabrice, and Neil Heyde. “‘Recercar’ - The Collaborative Process as Invention.” In Twentieth Century Music 4, no. 1 (2007): 71-95.
Hayden, Sam, and Luke Windsor. “Collaboration and the Composer: Case Studies from the End of the 2oth Century.” Tempo 61, no. 240 (April 2007): 28–39.
Hooper, Matthew. “The Start of Performance, or, Does Collaboration Matter？” Tempo 66, no. 261 (2012): 26–36. doi:10.1017/S0040298212000241.
Pritchett, James. “David Tudor as Composer/Performer in Cage’s ‘Variations II.’” Leonardo Music Journal 14 (2004): 11-16.
Smalley, Roger. “Some Aspects of the Changing Relationship between Composer and Performer in Contemporary Music.” In Contemporary Music, Proceedings of the Royal Musical Association 96, no. 1 (1969): 73-84.
四、網路資料
沈雕龍。〈補助資源對音樂創作的影響—以國藝會和八O年後出生的臺灣作曲者為例〉。國藝會補助成果檔案庫。2019。https://archive.ncafroc.org.tw/composer/composer_paperid=bd9eba06672c5c180167312ee59e0255（摘錄於November, 15, 2024）
林梅芳。〈建立一個對國人創作更為友善的環境——看現階段當代音樂於臺灣的發展〉。國藝會補助成果檔案庫。2024。https://archive.ncafroc.org.tw/composer/composer_paperid=4028b7828fc95ede01902985bed42965（摘錄於October, 29, 2024）。
羅芳偉。〈臺灣作曲者與義大利提琴演奏者Marco Fusi之跨國合作計畫〉成果報告書。國藝會補助成果檔案庫，2021。https://archive.ncafroc.org.tw/result?id=fc7bbc2c09434596b846f9928a13ec9f（摘錄於November, 7, 2024）。
Percussions de Strasbourg. “Ohana Maurice – 4 Etudes Chorégraphique.” Accessed February 1,2025. https://www.percussionsdestrasbourg.com/en/spectacle/persephassa-kore/
Percussions de Strasbourg. “Pleiades & Persephassa.” Accessed February 1, 2025. https://www.percussionsdestrasbourg.com/en/spectacle/persephassa-kore/
Percussions de Strasbourg. “Presentation.” Accessed February 1, 2025. https://www.percussionsdestrasbourg.com/en/les-percussions-de-strasbourgㄦ2/presentation/
Percussions de Strasbourg. “Varése Edgard - Ionisation.” Accessed February 1, 2025. https://www.percussionsdestrasbourg.com/en/spectacle/persephassa-kore/