臺灣的創作歌謠中，以樂器為題材而譜寫的作品為數不少，其中有許多即以「吉他」為題材，而本文研究的對象為從臺灣社會變遷中探討以「吉他」為題材之福佬系創作歌謠與國語創作歌謠。創作是不間斷而具持續性的，創作歌謠在時代的變遷中，隨時都會有人創作，為明確研究範圍，本文將時間點設始於1967年，而止於2008年8月底。另由於譜例資料難尋，所獲有限，必須靠採譜才能將音響化為曲譜，故本文有關音樂本體之研究，暫將其設限於歌詞部分，曲調部分暫不作探討。至 2008年8月底止，筆者共蒐集到以吉他為題材之創作歌謠曲目，包括原住民1首、福佬系21首、國語17首，因原住民部分僅1首，客家部分尚未掌握到，故本文研究對象僅限於福佬系與國語兩部分。其中部分曲目或因絕版等因素，不在筆者掌握之中，故本文研究範圍僅以筆者目前所蒐集到的為限，期望能為臺灣的創作歌謠作一個小小的註腳。本文研究內容共分為四部分，第一部分為吉他之沿革與在臺之發展，第二部分為以吉他為題材之創作歌謠曲目，第三部分為歌詞分析，第四部分則探討這些曲目在臺灣社會變遷中所具有之特質。

Among Taiwanese creative ballads, there are a lot of works written on the theme of music instruments, especially the guitar. This article aims to study the Fulau and Mandarin creative ballads with the guitar as the theme. Creation is non-stop and continual. There are always people writing creative ballads as time changes. In order to be specific in its study scope, this article will focus on the period starting 1967 to the end of August 2008. Additionally, because of the difficulty of obtaining enough musical samples, and transcribing them, the study of the music in this article is limited to lyrics and not melodies. Till the end of August 2008, the authors have collected some guitar-themed creative ballads including one aboriginal ballad, twenty-one Fulau ballads, and seventeen Mandarin ballads. Because only one aboriginal ballad and no Hakka ballads were collected, this article will study only the Fulau and Mandarin creative ballads. Some ballads are out of print and could not be obtained by the authors. This article is divided into four parts: the first is about the guitar’s history and its course of change and development in Taiwan. The second part is about the creative ballads with the theme of the guitar. The third part is the analysis of the lyrics and the fourth part discusses the qualities and characteristics of these ballads from the societal development and change of Taiwan.

創作歌謠; 福佬系創作歌謠; 國語創作歌謠; 吉他; 社會變遷

creative ballads; Fulau creative ballads; Mandarin creative ballads; the guitar; societal development and change