Among all the Chinese string-plucking instruments, “Liuqin” is an instrument which was developed much later on, and thus it merely enjoys sixty years of history on its development. Originally, Liuqin was treated as an instrument that particularly played accompaniment music for operas, and later it was transformed into a solo instrument. Based on the fact that Liuqin was just developed in very recent decades, its solo pieces and concertos are relatively deficient. In order to solve this dilemma, many of the Liuqin musicians tended to employ transplanted pieces from other music genres or instrumental music to broaden the repertoire and embrace more training skills. Consequently, transplanted music pieces have become an essential circle of the development of Liuqin, which has made the innovation of Liuqin appear more fruitful and multi-dimensional.

This thesis mainly deals with the analysis and elaboration reflection on the Liuqin transplanted piece, “The Butterfly Lovers”, and the transplanted version adopted by the writer was the one rearranged by Ms. Liu Bao-Hsiu. The thesis is divided into five chapters, including the Preface, The Introduction to the Composers, and the Analysis and Elaboration on this particular transplanted piece for Liuqin.

To discuss how “Butterfly Lovers” was transplanted and elaborated by Liuqin, this thesis further analyzes some of the technical issues reflected in its original violin solo version, discovering the unsuitable portions to Liuqin by reviewing the solo score of the violin solo version. It also examines how some of the violins skills werepracticed by Liuqin and suggests that the transplanted version can become an exclusive solo piece for Liuqin. Ultimately, the author is in hope that the thesis ends up an academic source for Liuqin players and researchers to refer to when it comes to seeking more relevant information and to further reach the purpose of propagating Liuqin by handing down such a musical heritage.