外臺歌子戲，向來與臺灣民間的廟會酬神活動息息相關。外臺歌子戲團的消長、活動場域與演出型態，亦隨臺灣的社會環境之變遷而轉化、蜕變。而影響其改變的最爲關鍵因素即是「音樂」。爲此，筆者以之爲探點之重點。長久以來，政府對於外臺歌子戲的演出，本來漠不關心，近十年來則積極鼓勵輔導，因而有所提昇改善；但亦僅限少數劇團與有限的演出場數，其中國藝會之「歌子戲製作及發表專案」即爲典型例子。而經本人觀察，認爲有幾項問題值得我們深思和探討；乃就個人觀點，試圖提出外臺歌子戲音樂日後發展的可行之道，以略盡個人對今日外臺歌子戲棉薄之力。

The outdoor Taiwanese Gezi opera has all along been closely related to the Taiwanese temple thanksgiving activities. In addition, its troupes' wax and wane, its acting fields, and its performing patterns have transformed and diverged following the changes of social environment in Taiwan. The most important factor causing these changes is the "music," on which this paper now focuses its attention. For a long time the Taiwan government showed little concern about the performance of outdoor Gezi Opera. In this past decade, however, it actively encouraged and assisted this performing art. As a result, the outdoor Gezi opera performance has been promoted and improved somewhat, though still restricted to few dramatic troupes and limited number of performances. Among the advocating efforts, the project entitled "The Production and Presentation of Taiwanese Gezi Opera" funded by the National Culture and Arts Foundation (NCAF) stands a typical example. According to my observation, there remain several issues deserving serious consideration and research in this case. This paper thus explores the future possibilities in promoting the music of the outdoor Gezi opera.