台灣地區自從一九八七年實施解嚴以來，政治鬆綁、民風漸開，社會更趨民主化，因而也對整個的文藝創作有著深遠影響。十多年來，也漸反映在音樂的創作上。筆者觀察這十餘年來受「本土化」影響下，台灣現代音樂創作中多了一份「本土情懷」的聲音。由於現代音樂的範疇與種類繁多，本文主要是以台灣作曲家為主所創作的嚴肅音樂為探討對象，特別是以西方技法寫作的古典音樂為主。再者解嚴在此的意義只是一個時間點的代表，音樂的發展或創作者心境轉變不是一夕形成。故本論文先將時間拉回解嚴前的創作時代背景作一概略回顧，並從歷年來活躍於創作舞台上的作曲家之作品、創作理念，來探討這十多年來音樂中所呈現的本土在地特色。

After the lifting of martial law in Taiwan in 1987, with the politics and folkways are gradually open and society democratize, the whole literature and art in this region has been deeply influenced by this trend. In the past decade, the influence reflects upon the music creation. In the observation of localization in the past decade, modern music creation in Taiwan has embedded the passion toward the island. Owing to the numerous fields in modern music, this study mainly aims to the solemn music created by composers in Taiwan, especially for classical music composed with western technique. Moreover, the meaning for the Lifting of Martial Law in this study just represents a time scale. Music creation or the mood transformation of a composer can not be shaped in one time. So the thesis will retrace the creation background back to the time before Lifting of Martial Law at the beginning and then focus on characterization of localization (Taiwanization) and idea of composition shown by those composers who are still active in the past decade.