二十一世紀，如同當代音樂、具象音樂…等新的音樂概念逐漸形成，跨越上一世紀關注於音樂本體創新的思維，聲景將「環境」、「空間」納入「聲響」的範疇，打破既往以音樂為主體的核心思考框架，開展了人們對於聲音既有的想像與認知，將聲音的定義推向更跨領域的聲音藝術與生活、與社會、與世界的連結。

本文透過相關文獻資料的爬梳與援引，回顧並釐清聲景理念，依循聲景創作者的音樂脈絡，揣摩作品中從音樂意境傳遞的聲景意念，以楊三郎美術館之聲景作為創作媒材，探索與音樂結合的各種作品呈現形式的可能性。透過文字書寫，試圖將所習得之知識統整歸納，透過音樂家訪談，將作曲技巧與靈感轉化爲創作，實踐於自我音樂作品之中，並藉由數位音樂軟體對聲音媒材的再製與編創，期待在聲景意識剛剛萌芽的臺灣，譜出屬於在地的獨一無二的聲景。

In the 21st century, new musical concepts such as contemporary music and figurative music have gradually formed. Over the last century, the focus on the innovation of music ontology has changed the "environment" and "space" into the category of "sound". In the past, the core thinking framework based on music has carried out people's imagination and cognition of sound, and pushed the definition of sound to a more interdisciplinary combination of sound art and life, society and the world.

Through the combing of related literatures, this paper reviews and clarifies the concept of soundscape, follows the music context of the creators of the soundscape, tries to understand the soundscapes conveyed from the artistic conception of the works, and explores the soundscape of the Yang San-Lang Art Museum as the medium of creation. The possibility of presenting a variety of works combined with music. Through text writing, trying to sum up the acquired knowledge, through the interviews of musicians, transforming composition skills and inspiration into creation, practicing in self-music works, and re-engineering and creating sound media through digital music software. Looking forward to Taiwan, which is just budding in the sense of soundscape, it is a unique soundscape that belongs to the land.

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