The creation and publication of flute works in Taiwan are intimately related to the local development of Western music. The propagation of Western music to Taiwan started during the Japan colonial period, at which the musical education had been generally implemented. Accordingly, young musicians were continuously aspired to study in Japan. They brought back classical music from abroad and established Western music orchestras to hold concerts and let musicians have a stage to perform. However, these pioneering musicians mainly studied in piano, vocal, or other stringed instruments. Therefore, there was a lack of wind-instrument musicians and teachers in the early period of Taiwan.In the last decades, learning to play western music instruments has been widespread in Taiwan; in particular, the population of learning flutes is the largest among wind instruments. Numerous flute ensembles have been established and many concerts and competitions for flutes were developed to an unprecedented height during 1980s. Yet, most of the repertoires were from western and only a few local works had been composed.The contemporary flute works of Taiwanese composer began in 1960s. These works grew more matured in 1980s and the style of music has become abundant and diverse after 1990s. This dissertation has collected various types of flute works in Taiwan from 1960 to 2010, especially focuses on solo pieces, duets, and concertos. Both the analyses and the performance practices of these collections are discussed, which mainly based on the interviewing of several senior musicians. The dissertation is expected to be the preliminary research for the history of contemporary flute works in Taiwan.