自20世纪20年代起二胡逐渐从多种民间伴奏乐器中脱颖而出，成为独特且备受人们喜爱的独奏乐器，并涌现出了大批优秀的二胡独奏作品。在二胡作品的发展过程中，由于受到各个地方的地理位置、语言特点、风土人情、生活习俗等方面的影响，在创作及演奏中形成了独具特色的地域性风格韵味，并有着深厚的文化艺术底蕴。自上世纪七八十年代以来，二胡协奏曲作为一种新兴的作品类型，迸发出了强大的生命活力，受到诸多二胡演奏者、创作者以及爱好者的高度关注。许多优秀作曲家将西方作曲技术与一些地区的传统民间音乐相结合，以二胡协奏曲的形式表现出来，使此类二胡作品更具独特的艺术感染力，为二胡作品的创作开辟了崭新天地，展现了完全不同的民乐感观，其中《第二二胡协奏曲——追梦京华》(以下简称《追梦京华》)就是此类二胡曲的典范之作。 本文对《追梦京华》的节奏、旋律、调式调性以及曲式结构进行精要分析，并着重于将每个乐章中所借鉴的大量北京地区传统民间音乐元素做深入剖析，例如京韵大鼓音乐元素，西皮音乐元素、北京单弦音乐元素等等。最后将民间音乐元素特点与二胡演奏技巧相结合，将理论知识最终落实到实际演奏中。本文的研究成果可以为更多此类作品的演奏者以及创作者提供理论依据。研究中传统民间音乐与现代作品创作的方法论，有助于帮助传统民间音乐与现代音乐共存融合的思考与探究，推动我们的传统民间音乐在今天得到更好的继承与发展。

Since 1920s, erhu has gradually emerged from a variety of accompaniment instruments, becoming a unique and popular solo instrument, and a large number of outstanding erhu solo pieces have emerged. In the course of the development of erhu pieces, due to the influence of geographical location, language characteristics, customs of various places, the unique flavor of regional style has been formed in the creation and performance, and it has a profound cultural and artistic background. Erhu Concerto is a new and vigorous type of work that has developed rapidly in recent years. It can also be regarded as an excellent product of ancient and modern inheritance and combination of Chinese and Western cultures. Many composers combine western composing technology with traditional folk music in some regions and show the Erhu Concerto in the form of "Erhu Concerto", making this kind of Erhu more unique artistic appeal, making the erhu works radiant new vitality and splendor, and displaying a completely different sense of music sense. Mr. Guan Naizhong's "the first" Two the Erhu Concerto JINGWAH is an outstanding example of this kind of work. This paper makes a thorough analysis of the rhythm, ‘The Second Erhu Concerto - the dream of Beijing’, and focuses on the analysis of a large number of traditional folk music elements in the Beijing area, such as the music element of the big drum of Beijing in the "Nao Chun", and the music elements in the ‘summer night’. Beijing Danxian music elements in the ‘golden autumn’; and the elements of the Erhuang music in New Year's Eve. Combining the characteristics of folk music elements with erhu performing skills, the theoretical knowledge is finally implemented to the actual performance. The results of this study can help more players to understand the style and performance techniques of the erhu works, enhance the performance of the music, provide some reference and reference value for other researchers, and provide ideas and suggestions for the re creation of this kind of work. In the study, the deep analysis of the connection between traditional folk music and modern works helps to think and explore the coexistence and integration of traditional folk music and modern music, and promote our traditional folk music to be better inherited and developed today.