隨著創作的型態日新月異，做出音樂作品的知識門檻已降低了許多，在創作日漸普及之趨勢下，找到自己喜歡創作的風格、鑽研特色以及熟練其核心技術在數量龐大的作品之中便顯得更為重要。而研究生有許多參加民族管弦樂團的經驗，在過程中體驗到許多不同聲部疊加在一起交織的美，對於線條與和聲兩面一體的概念十分著迷，便想以自身背景為出發點以弦樂重奏為研究範疇。
此專輯的核心概念以弦樂編寫為出發點，而後開始製作詞曲創作與編曲混音，並在不同的樂曲風格中調整弦樂在音樂中的角色和重要程度的比例，最終探討以旋律、節奏、和聲、對位法以及織體來探討弦樂在流行音樂中的應用性與分析。
華語流行音樂中的弦樂編寫應用的十分廣泛也普遍，五月天、周杰倫、李榮浩等知名樂團與歌手以及中國許多唱歌選秀節目〈我是歌手〉和〈中國好聲音〉 等，都大量使用弦樂於其音樂作品。日本的米西亞、米津玄師等知名藝人在速度較慢的音樂作品中也常使用弦樂作為伴奏樂器。鑒於目前的書面報告多半是專攻於古典音樂的弦樂編寫分析或是專注於流行音樂的創作手法分析，弦樂在流行音樂之應用較少書面資料，故本報告透過自我創作之分析並希望能將此經驗分享給更多音樂人做為參考。

With the ever-changing forms of creation, the knowledge threshold for making music works has been lowered a lot. With the trend of creation becoming more and more popular, it is easy to find the style you like to create, study the characteristics and master the core technology in a large number of works. appears more important. The postgraduates have a lot of experience in participating in the Chinese Orchestra, and experienced the beauty of many different voices superimposed and intertwined in the process. They are very fascinated by the concept of line and harmony. for the research area.
The core concept of this album takes the writing of string music as the starting point, and then begins to make lyrics and composition, arrange and mix, and adjust the role and importance of strings in music in different music styles. Harmony, Counterpoint, and Texture to explore the application and analysis of strings in popular music.
String music writing in Chinese pop music is widely used and widely used. Well-known orchestras and singers such as Mayday, Jay Chou, and Li Ronghao, as well as many Chinese singing talent shows such as "I Am a Singer" and "The Voice of China", have made extensive use of string music. musical work. Well-known Japanese artists such as Misia and Yonezu Genshi also often use strings as accompaniment instruments in slower music works. In view of the fact that most of the current written reports are focused on the analysis of the composition of classical music or the analysis of the creative techniques of popular music, and the application of string music in popular music is less written, so this report through the analysis of self-created and hope to be able to. Share this experience with more musicians as a reference.

一、中文書目
山縣茂太郎，《新訂音樂概論》。林勝儀 譯。臺北：全音樂譜出版社，2006。
石桁真禮生，《樂理理論與實習》。臺北：全音樂譜出版社，2007。
梅垣留奈，《圖解作曲‧配樂》。臺北：易博士文化，2017。
蔡盛通，《對位之學-復格曲之分析與創作》。臺北：樂韻出版社，2006。
石田剛毅，《圖解混音入門：活用推桿、等化器、壓縮器3大關鍵，瞬間音壓飽滿魄力十足》。臺北：易博士文化，2016。
嚴昌志，《Music Maker 數位影音配樂與配音入門必修》。臺北：碁峰，2011
陳藍谷，《小提琴演奏之系統理論》。臺北：全音樂譜出版社，2001。
謝宗翰，《Taiwan.gig？原住民音樂數位化研究:以「Amis旮亙樂團」為例》。東華大 學民族藝術研究所碩士論文，2008。
魯馥瑞，《MIDI Mock Up在管弦樂器之應用—以個人創作My First Move為例》。輔 仁大學數位音樂研究所碩士論文，2021。
二、英文書目 Kefauver, Alan P. and Patschke, David. Fundamentals of Digital Audio, New Edition.A-R Editions,2007.
三、網路資訊
Samuel Chase.（2021）“What is Texture In Music? A Complete Guide”〈https://hellomusictheory.com/learn/texture/〉〈accessed 2022.03.15〉
Roger Bissell.（1995）“On "Musical Texture"”〈http：//www.rogerbissell.com/id11e.html〉〈accessed2022.02.16〉
Damon Nichols.（2018）“Texture The way melody, harmony, and rhythm are woven together.”〈 https：//slideplayer.com/slide/8542331/〉〈accessed2022.02.18〉