本論文以江文也（1910-1983）為考察對象。 文也並沒有特別留下對故鄉或異鄉的集中考察。但是回顧其創作活動，可以知道他所身處之場所有著極為重要的意義。 對於出身在台灣的文也而言，台灣當然是故鄉；但同時的，當時為「日本」領土的這個意義來看，也是個異鄉。當然他以音樂家的身份所活躍的地方-日本（東京）是個異鄉，但是對「日本人」江文也而言，也可以說是故鄉。當然這對戰前所有的台灣人都可以這麼說；但身處於同樣的場所、境遇，卻創作出「台湾の舞曲」、「生蕃四歌曲集」的人只有文也。但如果將此事實視為理所當然，那就是對文也的過小評價。因為只有真摯面對異鄉，且同時成功表象出故鄉的人才能創作出詩歌。 因此，察明文也在故鄉與異鄉之間如何生活，並且檢討他面對異鄉的態度，這也等同於考察文也的創作。本論將〈異郷／故郷〉此一主題作為線索，檢討江文也的音樂是如何而誕生於世。

This essay takes up the musician Jiang WenYe (1910-1983). Jiang had not written the particular considerations upon the problems about <a homeland and strange land >. However, when we will look at his musical life, it is not difficult to understand that the place which enclosed him was extremely important. Taiwan was a homeland for Taiwan-born Jiang. But at the same time Taiwan was a strange land for him in the meaning "Taiwan was a part of the Japanese territory" in those days. In addition, though Japan (Tokyo) where he played an active part as a musician must be a strange land, it may be said as the homeland for "a Japanese" Jiang WenYe. Of course, this is to apply to all the Taiwanese people of prewar whole. However, though they were put in the same place and under the same circumstances, nobody had written such the works as "Taiwanese dance music" and "Four songs of the Taiwanese original inhabitants", except Jiang. If we would have regarded this fact as a natural result, it would have been to underestimate Jiang. Because it was only the person who will sincerely confront a strange land and ideate a homeland that will be able to create the poetry. Therefore, approaching such the problems as how Jiang lived between a homeland and a strange land and how he faced a strange land, we hope that it will be the certain light to consider about the creation of Jiang. On this paper, we will try to examine how music of Jiang was created over the subject "strange land/ homeland".