文革時期（1966-1976 年）箏樂創作領域受到國家社會倡導理念的影響，作曲家套用西方古典音樂曲式、或借用豎琴的演奏技法，編寫出多首不同於中國傳統曲體、演奏法的新作品。這些作品不僅在該時代形成一股風潮，並且深遠地影響後來的箏樂創作與音樂美學觀，這些作品的歷久與不墜，已然形成一段箏樂發展歷程的深刻軌跡，值得為文仔細探究。 本文分為三個部分：第一部份「文革思想與箏曲標題、素材」由歷史環境背景與意識型態，解讀創編箏曲；第二部份「曲體分析」選曲進行深入分析；第三部分綜合歸納音樂組織與演奏法的常用手法，並探討音樂風格的建立與影響性。

In the period of the Cultural Revolution (1966-1976), the field of Zheng compositions was affected by the policies of the country and society. Composers used western classical music forms or performing techniques from the Western harp to create many Zheng works which were different from Chinese traditional musical forms and instrumentation. These works were not only popular in that period, but also deeply affected the following history of Zheng compositions and musical esthetics. This essay is in three parts: First, “Principles of The Cultural Revolution” and “Title and Material of Zheng Compositions” explains these works through their historical background and consciousness. Second, “Analysis of Works” pursues the individual research of three pieces. Finally, a conclusion addressing the more common music organizations, techniques and characteristics of these woks, and, as an afterward, a discussion of the establishment of general musical style and the influence.