絕大多數的古琴傳統曲目，均非一時、一地、一人之作，因而在長時間的傳承與傳播過程中，「同名異曲」及「同曲異名」的情形，往往屢見不鮮。不論是同名異曲、抑或是同曲異名，就琴學乃至音樂學而言，皆富有相當的研究價值與啟發意義。古琴音樂中的同名異曲，可說是反映不同時空下的琴人，對同一題材、典故、意象所引發的創作衝動，而作出種種不同的回應；至於同曲異名，則是同一樂曲在發展過程中，琴人對樂曲內容的理解與詮釋，產生了或大或小的出入，以致在標題命名、演奏實踐乃至結構安排上有所分歧的結果。本文所要探討同曲異名的歧義性及其詮釋，即是針對後者的狀況而發。在本文的後續探討中，將鎖定《良宵引》、《秋塞吟》、《悵悵辭》三組作品，作為同曲異名的實例分析。之所以選擇這三組作品作為集中探討的對象，在於它們都分別具有兩個以上差異性甚大的樂曲標題與多樣化的譜本源流，且至今仍可得聞琴人操彈，足以代表古琴音樂中同曲異名的不同典型。透過這些不同的典型，歧義性及其詮釋所延伸的向度與發揮的作用，將能更為具體地揭示出來。

During the long-simmering transmission and popularization, most of the qin repertoire, based on several kinds of regional interactions, have been collaboratively accumulated by various qin artists throughout different times. In that case, the correlation between a title and the content of a musical piece could vary significantly; for example, an identical title could represent several different musical pieces, or a musical content with its many varieties could have been titled differently. Such specific relations between the title and the content of qin repertoire mirror diverse thoughts and styles of qin artists in different times and spaces, providing us with abundant inspirations and values in the fields of qin research and musicology. This article, through the analysis of three group works-Liang Xiao Yin, Qiu Sai Yin and Chang Chang Ci, aims to historicize the second relation-a musical content with its many variants of titles and perceptions by qin artists. The term ＂ambiguity＂ here, is to elaborate the varied forms and expressions of the same musical content. Another term ＂interpretation＂ in this article embraces the way in performance as well as the understanding in the process of collaborative mode of creativity in cultural tradition of qin music.