「車鼓陣」為早期活躍於臺灣鄉土民間的表演藝術，其既歌且舞的表演方式、輕鬆逗趣的裝扮，有時包含幽默詼諧的故事內容，在早期日出而作、日落而息的農家社會裡，是調劑生活、活潑人心的表演藝術。它曾經熱鬧於街頭巷尾、廣場稻埕，曾經是讓許多民眾追逐不捨、增加民間生活樂趣的表演，更是蘊含歷史文化價值的藝術資產。本文首先從高雄地區車鼓團體之地域分佈及師承關係，論述各團表演內容風格差異的原因；其次從車鼓團體之不同類型，分析車鼓走向多元化表演的現象；其三從車鼓團體之傳統曲簿中的曲目，了解各團之演出內容；其四從這些曲簿中挑選出七首曲目，分析其音樂結構和內容。目前在高雄地區車鼓團體的表演藝術已逐漸轉型，許多團體藝人保持學習車鼓的身段部分，而以健身娛樂為其主要目的。車鼓之音樂正集中於唱腔與後棚樂器演奏的音樂，如果表演車鼓者不再自唱自跳，而以錄音帶取代，後棚樂器更無年輕之傳人，那麼真正要式微的是車鼓音樂了。本研究一方面能為高雄的車鼓表演留下一些紀錄；另一方面更期望能喚起社會大眾或相關人士，重視這些傳統藝術。

「Che Gu Zhen」is one of the most popular performing arts in the early stages.Categories included but not limited to comedy and vivid performance with singingand dancing style. Sometimes the humor story in performance is the best cure ofexhausted workers and used to adjusting life quality. Che Gu Zhen used to bepopular on the streets and make everyone follow the performance. Thus, Che GuZhen implied the value of culture and it is an important asset of arts.The contents will first describe the geographical distribution of the Che GuZhen from Kaohsiung area and modeled the relationship between the reasons forthe differences of each performing style. Secondly, introduce by using the differenttype of Che Gu Zhen groups to analyze the diversification of performance. Next isfrom the tracks of Che Gu Zhen Traditional music Che Gu Zhen group. In addition,selecting seven tracks from the Traditional music scores to analyze their musicstructure and content.Che Gu Zhen performing arts in Kaohsiung has been gradually transformed.Many artists are maintaining the learning of postures and motions because of thefitness and recreation. Che Gu Zhen is focused on the singing and musicperformance. If the Che Gu Zhen artists are no longer singing and dancing bythemselves or even use the types to replace the real music performance, then it is the decline of the Che Gu Zhen. The purpose of this study is to keep some recordsfor the Che Gu Zhen in Kaohsiung, on the other hand, hope to arouse public orstakeholders to emphasize on this traditional art.