本篇論文主要是探討「絳州鼓王」－王寶燦之音樂研究，筆者將重心放在王寶燦這個“人”，包括他對於鼓樂創作的思維與見解，並探討多年演奏民族鼓的過程中，如何發展出一套屬於自己的鼓樂教學系統以及演奏方法，同時整理了王寶燦多年來的創作作品及出版之書籍還有被收錄的專輯或音樂作品，希望可以從不同的視角來審視發掘這位民族打擊樂演奏藝術家所帶給世人的影響。 本論文研究共分為六個章節，有五大主題分別為下：第二章王寶燦之生命歷史與音樂造詣共四節，第一節-前期 40-60年代，從二胡、琵琶到擊鼓。第二節-中期 60-80年代，遇見生命中的貴人–李民雄、王秦安。第三節-後期 80-90年代，締造「絳州鼓樂」走進歐亞世界。第四節-當今 90年代以後，絳州大鼓在台灣。第三章音樂演奏的技藝與教學特性共三節，第一節-如何將認知的鼓樂技巧運用至絳州鼓樂中。第二節-屬於王寶燦的演奏美學與教學系統。第三節-如何發展出十大門類六十法的擊鼓技巧。第四章音樂創作理念與文化發展的關係共五節，第一節-「音響」對於個人創作音樂的影響。第二節-來台前與來台後的創作質量與教量。第三節-音樂創作的基本要素。第四節-文化變遷對於音樂創作的思維有何改變。第五節-王寶燦與他的音樂作品。第五章是成就與感恩共三節，第一節-60一甲子，王寶燦的地位與成就。第二節-王寶燦的音樂作品對於世人及社會的影響及貢獻。第三節-成功的王寶燦來自於默默奉獻的他們。最後第六章-結論。 王寶燦對於鼓樂藝術的奉獻是全中國大陸有目共睹的，雖然他已退休餘年，如今在各個大小的中國民族打擊樂的會議及比賽場合仍可見他的身影，他憑著自己一點一滴的知識累積以及不斷的學習使自己的經驗茁壯，這都是值得我們學習的地方。 This study is to investigate Wang Baocan who is the king of Chiang Chou Drum Music and his musical creations. The author focuses on the personality of Wang Baocan, including his viewpoint about the creations of drum music and the process to organize his own teaching system and performing skills within the performance in several years. Besides, the author generalizes Wang Baocan’s musical creations, books, and albums which are his lifelong efforts. This study includes six chapters and five themes. The second chapter is for Wang Baocan’s life and musical attainments and divides into four sections. The first section from 40s to 60s ,the fore period, represents Wang Baocan’s experience from Erhu, Pipa, to drums. The second section from 60s to 80s, the middle period, expands on how Wang Bao can met his benefactor- Li MinXong and Wang Qian. The third section from 80s to 90s, the later period, expands on how Wang Baocan made Chiang Chou Drum Music famous in Asia and Europe. The fourth section after 90s, nowadays, represents Chiang Chou drums in Taiwan. The third chapter is for performing skills and teaching characteristics and divides into three sections. The first section covers how to utilize the skills of drums to Chiang Chou drums. The second section covers the aesthetics of Wang Baocan’s performance and teaching system. The third section covers how to develop the ten categories and sixty methods on the skills of drums. The fourth chapter is for the idea of musical creations and the relations of cultural development and divides into five sections. The first section concerns the effects of sounds during the creations. The second section concerns the quantity and quality of Wang Baocan’s creations between pre-Taiwan period and in-Taiwan period. The third section concerns the basic elements in musical creations. The fourth section concerns how the cultural transition makes the idea of musical creations different. The fifth section concerns Wang Baocan and his creations. The fifth chapter is for contribution and appreciation and divides into three sections. The first section includes Wang Baocan’s standing and contribution in a cycle of six years. The second section includes the influence from Wang Baocan’s musical creations and contribution. The third section includes those who inspire Wang Baocan and make hum successful. Finally, the sixth chapter is the conclusion. Wang Baocan’s contribution to drum performance is obvious to all in China. He attends several Chinese ethnic percussion conferences and competitions though he has retired for years. We should learn from his knowledge which accumulates step by step and follow the example of his attitude which keeps learning and strengthening the experience.
