本文旨在詮釋筆者林佳穎碩士學位音樂會及畢業音樂會的所有曲目，曲目選擇上的概念希望能涵蓋爵士樂裡不同的風格，隨著時代的變遷，爵士樂雖然僅有100多年的歷史，但由於現在科技的發達，我們可以輕易的在網路上看到爵士樂在不同的地區展現特有的面貌，各種類型的音樂遇到爵士樂產生不一樣的聲響，期許自己能夠展開心胸去聆聽、學習不同的聲音，作為一名音樂家，重要的為能夠演奏出各個風格的特色，在音色和樂句詮釋上需揣摩語氣的表達，在此之後也要發展出自己的個人風格，透過學習以及研究這些曲子的資料，不僅可以在即興演奏上有更多的理解及想法，在文化、歷史、作曲以及編曲手法上可以得到不少學習素材。願能夠藉由這兩場音樂會以及這篇詮釋報告，為台灣的爵士樂貢獻一份心力。

This essay is an interpretation of tunes in Chia-Ying, Lin’s master's degree recital and graduation recital. The concept of the tune’s choice hopes to cover different genres in jazz. As time goes by, although jazz only develops within one hundred years, we can easily see jazz becoming special sound in different areas on the internet due to the technology. A variety of genre’s music will create new sounds when they counter with jazz. Hoping I can open my mind to listening and learning from distinct music. Being a musician, it’s important to play the characteristic of many music genres. Needing to imitate and shed the music texture and phrasing, afterward, developing own style on playing. Through learning and researching these tune’s material, I not only gain more understanding and ideas on improvisation, but obtain lots of learning material on culture, history, composition, and arrangement technic. I wish I can contribute my share to Taiwan’s jazz society through these two recitals and interpretations.

目錄 9
譜目錄 11
壹、 學位音樂會演奏曲目之樂曲介紹和分析 13
一、I’ll Close My Eyes 13
二、Invitation 16
三、Gentle Piece 20
四、Father and Sun 24
五、Minha Saudade 26
六、Clockwise 29
七、Always and Forever 34
八、Crazy Race 36
貳、畢業音樂會演奏曲目之樂曲介紹和分析 39
一、Whisper Not 39
二、Speak No Evil 42
三、I Hear A Rhapsody 45
四、Darn That Dream 47
五、Chick’s Tune 49
六、Summer Samba 54
七、Footprints 57
參、結語 60
肆、參考文獻 61

一、 書籍、期刊
1. 徐崇育（2021）。什麼是「爵士樂」？。Par表演藝術，340期，p.14
2. Persichetti, V. (1961). Harmony creative aspects and practice. New York, US: W.W. Norton &Company
3.Giaia, T. (2012). A guide to jazz standards. New York, US: Oxford University Press
4.Levine, M. (1995), The Jazz Theory Book, U.S.A: Sher Music Co.
5. Owens, T. (1995), Bebop the Music and Its Players, New York: Oxford University Press.
6.Humphries, A. (2009), Kenny wheeler: Melody, harmony, and structure: An analysis of the melodic, harmonic and structural techniques in the compositions of Kenny Wheeler, and the implementation of those techniques into the authors own creative process, Western Australia: Edith Cowan University.
7.Smith, A. （2007）, Pat Metheny: Composing to Exploit the sound of the guitar, New Zealand: College of creative Arts, Massey University
8.Strunk, S. （2005）, Notes on harmony in Wayne Shorter’s compositions, 1964-1967, Journal of Music Theory (2005) 49(2):301-332

二、 網站
1. Burlingame, S. (unknown). Origin and chart information. Jazzstandards. Retrieved March 13, 2023, from https://www.jazzstandards.com/compositions-2/invitation.htm
2. Vaartstra, B. (2012). Invitation. Learn jazz standards. Retrieved March 13, 2023, from https://www.learnjazzstandards.com/jazz-standards/invitation/
3. 官大為（2015）.https://wiki.nicechord.com/index.php/很酷炫的「三全音代理」和弦！

三、 影片
1.Ant Adlibs (2023). Invitation: Harmonic Analysis. YouTube.
From https://www.youtube.com/watch?v=r1GUPA9hBaM