1963年4祝英台月24日，香港邵氏公司黃梅調電影《梁山伯與祝英台》在臺北上演，連映62天，欲罷不能，打破臺灣有電影以來國片洋片的賣座紀錄，掀起黃梅調戲曲電影的流行狂潮，導引這股風潮的，是出身臺灣的作曲家周藍萍（1926-1971）。周藍萍被視為臺灣國語流行歌曲的開創者，作品包括膾炙人口的〈綠島小夜曲〉、〈回想曲〉，又因《梁祝》拿下第十屆亞洲影展以及第二屆金馬獎最佳音樂。本文探究1963年《梁祝》在臺灣風靡的盛況，討論「戲曲電影」與黃梅調電影的關係，並以《梁山伯與祝英台》為核心，參酌其他黃梅調電影，探究周藍萍的黃梅調音樂。
本文以新近發現的周藍萍親筆手稿為證，剖析他的人生轉折，如何踏入了香港的七彩電影夢工廠，也提出周藍萍黃梅調音樂的作曲策略，其中最值得注意的是取用「南腔北調」以成就「離經叛道」（綜合李翰祥語）。「南腔北調」是向傳統汲取滋養，「離經叛道」則是「傳統樂曲現代化」的編配手法。本文蒐羅了周藍萍黃梅調電影音樂的實例，對照於流行歌曲、現代國樂、傳統音樂，以及其他創作音樂，具體分析他如何旁蒐廣納吸取其他音樂元素，以成就其「新變之聲」的黃梅調歌曲。

Since its first release in Taipei on April 24th, 1963, the movie The Love Eterne (Han-Hisang Li, 1963) had smashed the box office record in Taiwan at that time, raising a burst of Huangmei Opera Film. This phenomenon should be attributed to the Taiwanese film composer—Lan-Ping Zhou, who is also considered as the initiator of Mandarin pop songs in Taiwan.
Focusing on the movie The Love Eterne, this study aims to explore its prospering in Taiwan in 1963 and deliberate the relationship between this opera film and the previous Huangmei Opera Films. This study also investigates Lan-Ping Zhou’s Huangmei Song Score with other Huangmei opera films as references.
Based on the newly-found Zhou’s manuscripts, this study examines his life as how he entered Hong Kong film industry, and deliberates his compositional techniques of Huangmei opera music, among which the most interesting one is that Zhou extracts musical elements from traditional Huangmei opera music, yet breaks their rules and arranges them in a modernized way. This study analyzes Zhou’s work by comparing them to popular songs, modern Chinese orchestral music, traditional music, and other newly composed music, showing how Zhou mixed different musical elements to create his new-style of Huangmei songs.