根據本論文的分析發現，長達三十年的史特拉汶斯基(Igor Stravinsky, 1882-1971)之新古典主義時期(Neoclassicism)在其風格形成的過程當中其實是有其階段性可循的，大體可分為風格的試探、風格的成熟以及風格的融合三個部分，而這三個部分大致上以十年為間隔作為風格轉化的分隔點，故筆者將史特拉汶斯基的新古典主義時期進一步細分為三個階段，分別是1920-30年的試探期、1930-40年的成熟期以及1940-50年的融合期。
本篇論文在研究方法上，欲以線性素材發展手法來看史特拉汶斯基新古典主義時期的創作歷程，而筆者分析線性素材的方式，主要是以 “線性發展單元”、 “斷裂/接續性”、 “聲部關係”等三大分析角度去觀察整個新古典主義時期的風格發展脈絡。
透過三大分析角度，本論文例證了新古典主義時期存有歷時性的線性發展歷程，並且此一線性發展歷程中以 “單一化”、 “有機化”、 “集中化”為其發展上的主要趨向。此一分析結果顯示史特拉汶斯基的新古典主義時期是有其歷時性的前進性與目的性的，一定程度地反駁了音樂學家阿多諾(Theodor W. Adorno, 1903-1969)批評史特拉汶斯基的新古典主義時期為歷史倒退的說法。

According to the analysis of the thesis，Stravinsky’s thirty-year neoclassic period can be further divided into three different phases, which is in turn “the exploring phase” for 1920-30, “the maturing phase” for 1930-40, and “the integrating phase” for 1940-50.
The main analytical method of the research is trying to use linear materials to find out the process of Stravinsky’s composition. The analytical view of the linear materials can also be divided into three different perspectives, which is linear developmental unit, discontinuity/continuity, and the relationship between voices.
Through the research, the thesis has illustrated that there is a lasting developmental progression in Stravinsky’s neoclassic period, and the progression has the tendency of singularization, organization and centralization. This conclusion has also controverted Adorno’s criticism about Stravinsky, who suggested that Stravinsky’s neoclassic period is a period of regression.

第一章 緒論..............................................10
1.1 研究動機與目的...................................10
1.2 研究對象與範圍...................................13
1.2.1 史特拉汶斯基之新古典主義時期 (1920-1950)...13
1.2.2 史特拉汶斯基新古典主義時期之純器樂作品.....16
1.3 研究方法.........................................19
1.4 文獻回顧.........................................20
第二章 史特拉汶斯基新古典主義時期的整體創作手法及特色....27
2.1 線性發展單元(linear developmental unit)..........27
2.2 斷裂/接續性(discontinuity/continuity)............40
2.3 聲部關係(the relationship between voices)........61
2.4 小結.............................................67
第三章 新古典風格之試探期-1920’s........................68
3.1 線性發展單元.....................................68
3.2 斷裂/接續性......................................86
3.3 聲部關係........................................102
3.4 試探期之其他大型器樂作品........................108
3.5 試探期與俄羅斯時期的比較........................109
3.5.1 線性發展單元的比較........................109
3.5.2 斷裂/接續性的比較.........................112
3.5.3 聲部關係的比較............................116
3.6 小結............................................118
第四章 新古典風格之成熟期-1930’s.......................119
4.1 線性發展單元....................................119
4.2 斷裂/接續性.....................................126
4.3 聲部關係........................................128
4.4 小結............................................132
第五章 新古典風格之融合期-1940’s.......................133
5.1 線性發展單元....................................133
5.2 斷裂/接續性.....................................154
5.3 聲部關係........................................155
5.4 融合期的其他大型器樂作品........................156
5.5 融合期與其他時期的比較..........................158
5.5.1 線性發展單元..............................158
5.5.1.1融合期與俄羅斯時期在線性發展單元的比較158
5.5.1.2 融合期與試探期在線性發展單元的比較....159
5.5.1.3 融合期與成熟期在線性發展單元的比較....160
5.5.2 斷裂/接續性...............................161
5.5.2.1 融合期與俄羅斯時期在斷裂/接續性的比較.161
5.5.2.2 融合期與試探期在斷裂/接續性的比較.....162
5.5.2.3 融合期與成熟期在斷裂/接續性的比較.....163
5.5.3 聲部關係..................................164
5.5.3.1 融合期與俄羅斯時期在聲部關係的比較....164
5.5.3.2 融合期與試探期在聲部關係的比較........169
5.5.3.3 融合期與成熟期在聲部關係的比較........170
5.6 小結............................................172
第六章 結論.............................................173
參考書目................................................176

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