臺灣博碩士論文加值系統

鋼琴教學領域中，技巧訓練在每個階段的學習都佔有極重要的地位，從簡單的手指練習(Exercise)到炫技(Virtuoso)的技巧呈現，彈奏者可利用練習曲來幫助自己克服在練習各種技巧中所遇到的問題。
� 本論文旨在探討鋼琴練習曲之教學研究。在本文中研究了有關鋼琴練習曲的歷史發展，以及練習曲之分類。研究過程中，筆者傾向將鋼琴練習曲分為兩大類別，一為以訓練基本技巧為主的練習曲，另一類則是能在公開音樂會上演奏的『音樂會練習曲』，並分別以徹爾尼練習曲作品八二一與蕭邦練習曲作品十、二十五為例，進一步作彈奏教學之研究，亦探討兩種不同類型練習曲之相關性與相異性。
鋼琴練習曲歷史研究之部分，可發現，隨著時代背景之變遷，作曲家對於練習曲之詮釋亦有所不同。而藉由一些學者對於練習曲的分類及界定，有助於彈奏者對於練習曲的特性與功能有進一步的認識，進而幫助自己能有計畫且循序漸進的使用各類練習曲。
� 關於彈奏教學研究之部分，筆者根據徹爾尼練習曲作品八二一與蕭邦練習曲十、二十五中曲子包含之不同音型，作為技巧分類，並將每種技巧舉一首曲子為例子，說明彈奏或教學時須注意的事項。研究過程中，亦發現此兩種練習曲在創作風格上有些相關性與相異性，相關性有：每首曲子以練習一種技巧為目標、對於彈奏速度之要求，以及可互為搭配與輔助之教材等，相異性則有：不同之用途、不同之曲式結構以及不同程度之和聲使用等。

In piano pedagogy, technical training is considered important at every stage of learning, from simple finger exercise to virtuoso performance. A learner may make use of the piano etudes to overcome the hurdles encountered during the training of various techniques in playing piano.

The main purpose of this thesis is to study the teaching of piano etude. In the thesis, the historical development and the classification of piano etudes are explored. As a result of the study, the writer is inclined to divide the etudes into two categories : the etudes for basic technical training and the concert etudes for public performance. Discussions are made on examples from Czerny Etude Op. 821, and Chopin Etudes Op. 10 and Op. 25. The study goes a step further to explore the teaching aspect of the etudes, and to study their resemblance and the differences.

In terms of the historical development of the piano etudes, the writer has found that the interpretations of the piano etudes by the composers themselves may vary in accordance to the different social backgrounds and circumstances in the different periods. Thus, through the classification and definition of the piano etudes by the scholars, a piano learner may get useful in-depth understanding of the characteristics and functions of the etudes, and thereby be able to set forth a proper learning plan to practice, and to achieve excellence through gradual steps.

For teaching the piano playing, the writer makes a skill classification based on different music shapes of Czerny Etude Op. 821, and Chopin Etudes Op. 10, and Op. 25. Each skill is presented by an example to illustrate the important aspects of playing and teaching piano.During the study, the writer has found the relative and the distinctive aspects of the etudes in its artistic and creative styles. As far as the relative aspects are concerned, each etude is provided for the purpose of one technique training and is strictly required for the playing speed, also some complementary teaching materials. For the different aspects, each etude serves a different purpose, different music structure and provides a different degree of harmonic using.

中文摘要…………………………………………………….………i
英文摘要…………………………………………………………….ii
致謝………………………………………………………………….iv
目次………………………………………………………………….v
表次………………………………………………………………….vi
譜例次…………………………………………………………….....vii

第一章� 緒論……………………………………………………..1
第二章� 練習曲
第一節� 練習曲之起源與發展…………………………………6
第二節� 練習曲之分類…………………………………………12
第三章� 徹爾尼與蕭邦鋼琴練習曲之歷史背景
第一節� 徹爾尼生平……………………………………………14
第二節� 徹爾尼鋼琴練習曲之歷史背景………………………16
第三節� 蕭邦生平………………………………………………17
第四節� 蕭邦鋼琴練習曲之歷史背景…………………………19
第四章� 徹爾尼與蕭邦鋼琴練習曲之彈奏教學研究
第一節� 徹爾尼練習曲作品八二一之彈奏教學研究………… 22
第二節� 蕭邦練習曲作品十、二十五之彈奏教學研究…….....50
第三節� 徹爾尼與蕭邦練習曲之相關性與相異性.....................83
第五章� 結論……………………………………………………...87
參考文獻…………………………………………………………….89

中文書目

江靜玲譯，Ates, Orga著（民84）。偉大作曲家羣像~蕭邦。台北市：智庫。

李哲洋主編（民72）。最新名曲解說全集。台北：大陸書店。

林婉菁著（民90）。探討巴爾托克三首練習曲(Etudes Op. 18, 3 pieces)寫作手法，碩士論文，台北：私立東吳大學。

邵義強譯，井口基成著（民90）。彈奏鋼琴的技巧。台北市：全音樂譜出版社。

張美惠著（民92）。徹爾尼三十首練習曲之彈奏詮釋。台北市：全音樂譜出版社。

梁憲怡著（民76）。蕭邦練習曲詮釋。台北市：全音樂譜出版社。

梁憲怡菕]民91）。鋼琴教學研究。台北市：全音樂譜出版社。

陳芳玉譯，Lhevinne, Joseph著（民91）。鋼琴彈奏的基本原則。台北市：全音樂譜出版社。

彭聖錦著（民74）。彈鋼琴的藝術。台北市：全音樂譜出版社。

葉綠娜著（民79）。詮釋蕭邦練習曲作品二十五。台北：大呂出版社。

鍾佩文著（民89）。十九世紀音樂會練習曲曲目之探討。碩士論文，高雄：國立中山大學。

魏廷格著（民89）。鋼琴學習指南。台北市：世界文物初版社。

外文書目
Ammer, Christine.(1972). Harper’s Dictionary of Music. Drawing by
Camela M.Ciampa and Kenneth L.Donlon. New York：Harper and Row.

Baker, Bruce.(1992). Baker’s Bibliographical Dictionary of Musicians, 7th edition.by Nicolas Slonimsky. New York：Schirmer Books.

Bashaw, Donna Ruth.(1980). The Evolution of Philosophies and Techniques of Piano Pedagogy from 1750 to 1900 Traced Through The Teachings of C.P.EBach, Clementi ,Czerny, Chopin, and Leschetizky. M.A,California State University,Fullerton.

Darrell G, Lefller.(1998). Czerny,Leschetizky,Vengerova:A Genealogical Study of Piano Pedagogy Technique. MA.diss, San Jose State University.

Ferguson, Howard.(2001). “Etude.” The New Grove Dictionary of Music and Musician, Ed. by Stanley Sadie, Vol.8, London：Macmilan.

Ferguson, Howard.(2001). “Study.” The New Grove Dictionary of Music and Musician, Ed. by Stanley Sadie, Vol.24 London : Macmilan.

Finlow, Simon.(1992). “The Twenty-seven Etudes and Their Antesedents” in The Cambridge Companion to Chopin, ed. Jim Samson. Cambridge : Cambridge University press.

Ganz, Peter Felix.(1960). The Development of the Etude for pianoforte. Ph.D. diss, Northwestern University.

Gieseking, Walter and Leimer, Karl.(1972). Piano Technique. N.Y : Dover Publication.

Gordon, Stewart.(2000). The Well-Tempered Keyboard Teacher. Schirmer Books.

Gordon, Stewart.(1996).“A History of keyboard Literature:Music for Piano and its forunners.” New York : Schirmer Books,

Grout,Donald Jay and Palisca,Claude V.(1996). A History Of Western Music. New York : Norton.

Lindeman, Stephen.(2001). “Carl,Czerny.” The New Grove Dictionary of
Music and Musician, Ed. by Stanley Sadie, Vol.6 London : Macmilan.

Michalowsky, Kornel and Samson, Jim.(2001). “Chopin.” The New Grove Dictionary of Music and Musician, Ed. by Stanley Sadie, Vol.5, London : Macmilan.

Orga, Ates.(1983). Chopin. London; New York : Omnibus Press.

Rowland, David ed.(1998). The Cambridge companion to Piano. New:York：Cambridge University Press.

Samson, Jim.(1983). “Chopin, Fryderyk.” The New Oxford Companion to Music. N.Y : Oxford University Press.

Slonimsky, Nicolas.(1997). Baker’s Dictionary of Music. Edited by Richard Kassel. New York : Schirmer Books.

Thompson, Wendy.(1983). “Czerny, Carl.” The New Oxford Companion to Music. N.Y : Oxford University Press.

Thompson, Wendy.(1983). “Etude.” The New Oxford Companion to Music. N.Y : Oxford University Press.

Todd, R.Larry.(1990). Nineteenth-Century Piano Music. New York : Schirmer Books.

Yang, Ching-Ling.(1998).“The Development of the Piano Etude from Muzio Clementi to Anton Rubinstein: A Study of Selected Works From 1801 to 1870.” DMA, The University of North Carolina.



中文期刊
朱象泰著，《鋼琴練習曲初探--分類介紹與學習方法》。古典音樂，第四十九期，民國八十五年三月，頁55-63。

吳雅婷著，《卡爾.徹爾尼「160首八小節練習曲 Op.821」之教學研究》。台南女子技術學院學報， 第十八期，民八十八年八月，頁443~456。

蔡奎一著，《車爾尼八小節練習曲作品821(第一部)解析》。藝術學報，第七十三期，民國九十二年十二月，頁145-158。

西文期刊
Czerny, Carl. “Recollections from my life.” Translated by Ernest
Sanders. The Musical Quaterly 42/3(July 1956):302~317.

Jr, Frank Milburn. “Czerny-Farther of Virtuoso.” Musical America
(February,1957):30,155,227.