日治時期在臺灣推展西洋音樂教育的教育體系，主要有兩方面，即基督教會以及學校教育。一八五八年臺灣開放通商開埠後，基督教長老 教會方面於一八六五年進入臺灣傳教，並引進西洋音樂。日本在一八九五年開始統治臺灣，為普及日語，而在臺灣設立各級學校，也實施音樂 課程教導西洋音樂。在這兩方面的推動下，臺灣人對西洋音樂逐漸熟悉並產生興趣，也產生了一些臺籍音樂家。 自十九世紀末留聲機（Phonograph）、唱片（Record）相繼出現後，人類的各種聲音可以直接被保存並重覆播放，因此開始有唱片工業的 發展。同時，國際社會正流行一種跟「古典藝術音樂」（Classical Music）風格相異的新式音樂「流行音樂」（Pop Music）。由於唱片的媒介， 流行音樂廣受世界各地人民的喜愛。受到日本的影響，臺灣也於一九三○年代盛行流行音樂，產生「臺語流行歌」。當時主要的臺語流行歌曲 作家如：張福興、王雲峰、鄧雨賢和姚讚福等皆有相當的西洋音樂教育背景，也擅於運用西洋音樂語言創作流行歌曲，而能提昇臺語流行歌的 水準。 本文以一九三○年代最具有代表性的臺語流行歌〈桃花泣血記〉、〈望春風〉和〈心酸酸〉等三首歌曲為例，探討日治時期西洋音樂教育 與臺語流行歌形式發展之淵源關係。全文除前言及結語外，再從日治時期的西洋音樂教育、流行歌曲概況及上述三首歌曲之分析等三方面敘述 。

Christian Missionaries and Japanese Schools were the two main promoters of Western Music Education during the Japanese Ruling of Taiwan. Western Music was brought to Taiwan by the Presbyterian Missionaries in 1865. By 1895, Western Music had become part of the regular curriculum in Japanese Schools, which were established by the Japanese Government to promote their own language. As a result, Western Music became more and more popular among Taiwanese musicians and song-composers. At the end of the 19[90bb] Century, the invention of Phonograph and Record allowed people to record and replay music, and Pop Music took over Classical Music to become widely accepted. By the 1930s, Taiwanese Pop songs started to evolve out of Western Pop Music and of Taiwanese culture. Many Taiwanese song-composers such as, Chang, Fu-Shing(張福興), Wang, Yun-Fang(王雲峰), Teng, Yu-Hsian(鄧雨賢) and Yao, Dzan-Fu(姚讚福), studied Western Music and often borrowed techniques to add more varieties the their Pop songs. Using three of the epitomes, "The hue khip hue ki" (桃花泣血記), "Bang chun hong" (望春風) and "Sim sng sng" (心酸酸), this thesis will discuss the relationship between Western Music Education during the Japanese Ruling of Taiwan and Taiwanese popular songs.