1950 至70 年代的臺語流行歌曲歌壇中，「低音歌王」洪一峰與「高音歌王」文夏是當時兩位最具代表性的男性歌手。然而，筆者分析洪一峰的黑膠唱片錄音，發現其「低音特質」其實有時間上的演進，並依演唱風格可分為四期。第一期（1957–1964）的歌曲涵蓋中、高、低音域，較無明顯強調低音，且部分曲目與「高音歌王」文夏重疊，顯示此時洪一峰仍擺盪於演唱聽眾習慣的「高音」或是展現其「低音」。第二期（1964–1969），洪一峰在演唱音色和樂句詮釋上有所改變，並且開始選擇能夠凸顯低音的歌曲。洪一峰第三期（1969–1973）的主要特徵是趨於一致的演唱音色，且更強調低音的演唱。第四期（1973–1978），除融合前三期的演唱風格並強調低音演唱，也加入新的演唱方式。對照洪一峰演唱風格的轉變，筆者發現媒體對洪一峰的稱號，也歷經了「低音歌手」、「低音歌王」、「寶島首席低音歌王」三個階段。 總結來說，本文希望藉由歷史錄音與相關史料具體呈現洪一峰的「低音歌王」之路，也希望以洪一峰為例，初步探索當時聽眾從習慣只有「高音」的環境到接受「洪一峰演唱的低音」的過程。

From the 1950’s to the 1970’s, Hong Yi-feng and Wen Hsia were the two representative male singers of Taiwanese pop songs and were hailed as the “Primo Bass Singer” and the “Primo Tenor Singer” respectively. However, my analysis of Hong’s historical recordings shows that his bass timbre had undergone a process of evolution and that his singing styles went through four stages of development. In the first stage (1957–1964), Hong’s singing covered high, middle and low registers without stressing the bass in particular, and some of his repertoires overlapped with those of Wen Hsia; this implies that Hong was still swaying between the audiences’ preferences for tenor timbre and his characteristic bass timbre during this period. Hong changed his timbre at the second stage (1964–1969) and began selecting songs which could feature his bass singing. In the third stage (1969–1973), Hong’s timbre showed a greater unity and emphasized his bass timbre. As for the fourth stage (1973–1978), he developed a new singing style which not only combined the former singing styles but also added some new features. Correspondingly I found that the titles with which the media referred to Hong also went through stages, first as “Bass Singer,” then as “Primo Bass Singer,” and finally as “Formosan Primo Bass Singer,” a change that more or less reflects the gradual shifting of the audience’s taste from preferring tenor quality to accepting Hong’s bass timbre.