Zhou Dong-Chao, a highly experienced Suona performer, and composer, possesses a rich artistic background that spans folk music, instrumental pieces, songs, and theatrical works. His involvement in local television dramas has endowed him with a profound understanding of diverse musical styles, enabling him to adapt with great flexibility. In his musical compositions, Zhou Dong-Chao adopts a unique style depiction approach, drawing on his imagination and emotions to weave personal narratives that convey various stories. He strives to tailor his compositions to suit Suona's performance optimally, leveraging the instrument's strengths, and exploring innovative interpretations that set his works apart from others in similar styles.

Through literature analysis, it is evident that research on Zhou Dong-Chao and his works is relatively scarce, primarily consisting of compilations and overviews. While some journals and articles have focused on interpreting and discussing "The Charm of Loess Plateau," the content remains relatively brief, leaving ample room for further exploration. As a result, this study centers on two of Zhou Dong-Chao's compositions, "The Charm of Loess Plateau" and "The Charm of the Xiang River," for in-depth analysis and interpretation, while also exploring his aesthetic perspectives. To conduct this research, both formal and informal interviews were conducted with Zhou Dong-Chao and his son, Zhou Yi-Xiang, along with several Taiwanese Suona performers, including Sun Pei-Yuan, Liu Chiang-Pin, Cui Zhou-Shun, and Lin Zi-You, to collect first-hand data and direct insights.

Drawing upon the author's personal musical experiences and the findings from the aforementioned research, it is apparent that the interpretation of Zhou Dong-Chao's Suona compositions necessitates a focus on "performance technique," particularly breath control, dynamics, tone expression, and finger dexterity. Only by overcoming technical limitations can the music be delivered naturally and fluently. Regarding "musical concepts," a correct understanding and a sustained pursuit of aesthetics are crucial, while judiciously evaluating one's own performances. Moreover, as for presenting the "musical style," it requires an analysis based on the characteristics of traditional opera and folk songs and a comprehension of regional tonality and dialects. Finally, by adopting perspectives from the interviewed experts to validate the author's elaborations on performance articulations and interpretations, this study aims to develop an optimal performance strategy that provides relevant advice to fellow Suona performers and serves as a valuable reference for composers.