The main content of this thesis is the interpretation of the performance of “Sihzihqu”（四子曲） in Huang, Chun-Li’s graduate concert. During the time that the author immersed in Nanguan music, had he heard the term ''Sihzih''（四子） mentioned by the Nanguan seniors, therefore, during the master years, he particularly paid attention to this term and wanted to view the full extent of it, so "Sihzihqu" is used as the theme of the graduate concert.
When learning Nanguan at his early age in Tainan Nanshengshe（台南南聲社）(name of a Nanguan club in Tainan, Taiwan), Su, Jung-fa started teaching the author with the instrument Erxian（二絃）(a kind of string instrument like Erhu), which is different from most of the people,who begin with Pipa. As a result, Erxian had become the instrument which the author plays the best. Thus, after analysing “Sihzihqu”, the performing practice of Erxian would also be discussed in this thesis.
The structure of this dissertation is based on and developed from the subject “Sihzihqu”. The first chapter is ‘The Framing of The Concert’, describing the concept of the concert, guest musicians and lay out of the repertory. The second chapter ‘A Study on “Sihzihqu”’: starting with literature review and then introducing the contexts of the “Sihzihqu” repertoires performed in this concert. The third chapter is ‘Musical Analysis’. The fourth chapter ‘Performing Interpretation’, explaining how the author interpret the pieces with his singing and Dongxiao(a kind of vertical bamboo flute) playing. The last chapter ‘Analysis of ‘Shapu’ in “sihzihqu” with The Aspect of Erxian playing’, not only introduces the ‘Shapu’(the instrumental piece used to end a Nanguan concert) “Bachunma”（八駿馬）, but also summarizes the basic principals of Erxian bowing techniques in the piece “Bachunma” which emphasized on the Erxian part. The performing practice of this piece is literally recorded by consulting the dictations of seniors, moreover, the author compared the bowing technique used by himself with Nanguan performer Wang, Xin-xin.