音樂作品，如同詩歌，小說等文學創作，無不是作曲家從意念的產生，靈感的找尋，材料的設計與結構佈局，到實際的落筆寫作與修改等過程中殫精竭慮的工作成果。作曲家在其創作生涯早年，經常不自覺地在其手稿或作品中流露出他對於過往大師作品之分析，記憶，乃至於遺忘的痕跡，這些意識或無意識的創作心路與實際的作品產生過程，甚至可能成為其個人風格形成的主要因素。本文將以中國作曲家陳其鋼早期管弦樂作品《源》的音樂手稿為例，探究其創作之音樂構思與作品生成過程，從中理解作曲家是否受到當代大師如梅湘，布列茲等人之影響，並揭示作曲家於此摸索過程中逐漸形成的美學理念與風格特徵。

Musical works, as with forms of literature such as poems and novels, are without exception the results of deliberating ideas, searching for inspirations, organizing material, and arranging structure, as well as industrious writing and revision. In a composer’s early years of creation, his manuscripts or notes always casually reveal his analysis, memory or even obliviousness of the chefs-d’oeuvre of his admired masters. These psychological experiences and creative processes may even consciously or unconsciously become elements of his personal style. This paper focuses on the musical language of Yuan (Origins), an early orchestral work of the Chinese composer Qigang Chen. By examining the manuscripts and composition notes created during the work’s genesis, we analyze and present how Chen transformed his rudimentary motives and material into his work, whether he was influenced by Messiaen and Boulez, two giants in the contemporary history of French music, and the forming of Chen’s aesthetic views and characteristic style.