1932年第一首台語流行歌〈桃花泣血記〉灌錄成唱片發行，當時的台灣流行歌曲習慣採用整齊規律的詞格和「分節歌」的形式，每一節的音樂旋律反覆，具有濃厚的民謠風味；當時台灣內台歌仔戲就會引用流行歌曲作為「新調」，與傳統曲調穿插著使用，這樣的情形一直持續到戰後，當演員演唱流行歌曲時會吸引商業劇場的觀眾，讓他們覺得新奇和有變化。 戰後由於廣播歌仔戲、和電視歌仔戲蓬勃發展，對於新曲調的需求促使當代的流行歌曲持續被歌仔戲借用。另一方面大量新編劇目的產生，讓歌仔戲在音樂上也想追求新穎變化，流行歌曲的新奇感有助於演員的表演、並且受到觀眾歡迎；特別是在新編的「胡撇仔戲」當中，流行歌曲所占的篇幅日益擴大，幫助歌仔戲可以和其他的通俗娛樂展開競爭。台灣歌仔戲和流行音樂持續不斷地交流，讓流行歌曲的歌詞內容、或是歌曲意境都深入地融合在歌仔戲的表演之中。 本文嘗試從日治時期的歌仔戲、戰後內台歌仔戲、及外台「胡撇仔戲」三個階段敘述台灣歌仔戲引用流行歌的情形，並分析歌仔戲與流行歌能夠互相交流的原因；包括演唱方法的相似有助於歌仔戲對於新歌曲的吸收；「活戲」的表演形式為流行音樂留下寬廣的發展空間；以及大眾文化中的「商業性」要求促成了流行歌與戲劇表演的結合。 從歌仔戲的發展歷史上來觀察，流行歌進入台灣歌仔戲的表演體系中是一種「必然」；經過了時間的演進，流行歌曲已經成為歌仔戲音樂中的「必要」。在台灣歌仔戲從「民間文化」過渡到「大眾文化」的歷程中，從吸收「民謠」到引進「流行歌曲」無疑是一個重要的特徵。

The first pop song in Taiwanese language, ‘The-hue-khip-hue-ki’ (Weeping Peach Blossoms), was recorded and released in 1932. During this period, it was common to apply a neat, regular form and a ‘couplet’ structure to Taiwanese pop songs. Melodies were repeated in every section, creating a strong folk music atmosphere. At that time, popular music was played in indoor Taiwanese operas as ‘new tunes,’ together with traditional opera music. This phenomenon continued into the post-war years as performing pop songs created a fresh and different look for Taiwanese opera, which became an attraction for audiences of commercial theatres. While Taiwanese opera in radio and television broadcasts developed prosperously in the post-war period, the need for new tunes enhanced the use of popular music in Taiwanese opera. Moreover, the growing production of new repertoires encouraged the pursuit of innovative changes in Taiwanese opera music. The freshness of pop songs inspired actors in their performances and was welcomed by audiences. In particular, pop songs were increasingly applied in the new creation ‘O-peila-hi,’ which contributed to the competitiveness of Taiwanese opera among all popular forms of entertainment. The continuous interchange between Taiwanese opera and popular music made the content of pop song lyrics or the mood of the songs deeply integrated into Taiwanese opera performances. This article intends to demonstrate the phenomenon of employing pop songs in Taiwanese opera in three stages: 1) Taiwanese opera in the Japanese colonial period; 2) indoor Taiwanese opera in the post-war years; and, 3) outdoor ‘O-pei-la-hi.’ In addition, factors that motivated the interchange between Taiwanese opera ad pop songs are analyzed. Such factors include the following three aspects: first, a similarity of singing methods aided the incorporation of new songs into Taiwanese opera; second, ‘improvised performance’ opened new opportunities for the development of popular music; and third, the demand for ‘commerciality’ within mass culture promoted the connection between pop songs and theatrical performances. From the perspective of the evolution of Taiwanese opera, it can be observed that it was ‘inevitable’ that pop songs would be integrated into Taiwanese opera performances, and as time passed, pop songs became ‘indispensable’ for Taiwanese opera music. It is no doubt a significant feature that Taiwanese opera underwent a change from absorbing folk music to applying pop songs in the transition from a folk culture to a mass culture.