臺灣博碩士論文加值系統

《貝多芬鋼琴奏鳴曲，作品110》完成於1821年，為貝多芬最後三首奏鳴曲的其中一首，三樂章以調性、速度、「主題」動機發展來串聯整曲架構、內容。尤以第三樂章結合宣敘調、賦格曲式的形式，不僅創新曲種的發展，更創造出作品內部意義與外在形式間的緊密連結。貝多芬晚期作品偏向人類精神、意志上的意義與勝利，音樂語彙也比同時代的作曲家艱深，在歷經耳疾、姪子訴訟官司、身體病痛時，貝多芬不忘將自己投入到更深層的音樂創作中，追求內在世界的平靜，超脫世俗的規則與侷限，發展出自我獨特、精鍊的音樂語言，藉由創作表達出心中最想說的故事。本論文的研究方向分為三個部分：第一為藉由許多學者的研究來理解貝多芬最後三首鋼琴奏鳴曲作品109-111的音樂風格發展，並歸納出其共通創作手法與特點。第二，以Rita Steblin探討十八、十九世紀調性特徵的論述，統整出七位音樂理論家對調性的見解，進一步聚焦於作品110中的調性安排，探討、對照貝多芬不尋常的調性架構與內容意義。第三為作品110分析，以速度、節奏、「主題」動機發展觀點連結貝多芬的生平，追溯晚期鋼琴作品欲突破內部形式而與外在生活事件連結之可能性。

Beethoven completed his Piano Sonata opus 110 in 1821. It is one of the last three piano sonatas in which he combined tonality, tempo marking, developments of motto motive closely with music structure and specifically for expressing music meaning. Above all, the form of the third movement integrates recitativo and fugue with sonata form which not only innovates the genre of sonata form, but also create inseparable interrelationship of intrinsic meaning and extrinsic form. The late music style of Beethoven is prone to explore meaning and victory via human spirit and willpower. Going through hearing loss, litigation of his nephew Carl, body illness, Beethoven’s music vocabulary becomes more intricate than other contemporary composers so as to devote himself to pursuing tranquility of innermost world in his profound, creative process. He aims not only to transcend common principles and limits but to expand his own peculiar, refined music language to express the story in his heart. Three aspects will be investigated in this paper: first, past research will be reviewed to understand Beethoven’s development of musical styles in the last three piano sonatas and to sum up the common applications of techniques, characteristics; second, seven music theorists will be selected as examples from Rita Steblin’s valuable monograph A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries, whose descriptions of different tonality would be explored and compared with the unusual tonal structure and meaning in opus 110 as antithesis; third, opus 110 will be analyzed by tempo marking, rhythm, developments of motto motive so as to trace the possibility of correlation between breakthrough of interior form and exterior living events.

演奏會曲目與輔助文件摘要 i
Recital Program and Paper Abstract ii
致謝 iii
徐幼齡鋼琴演奏會錄音CDs iv
目錄 v
譜例目錄 vi
表目錄 vii
輔助文件：從貝多芬當代調性的認知詮釋其晚期鋼琴奏鳴曲作品110
一、前 言 1
二、貝多芬晚期鋼琴作品109-111的研究概況 3
三、從貝多芬當代調性的認知看作品110的意義 10
3.1 十八〜十九世紀早期調性意義的普遍認知 10
3.2 貝多芬作品110中的調性實驗 19
四、作品110之詮釋與貝多芬外在生平的連結 25
4.1 速度與節奏 25
4.2 「主題」動機的發展 30
4.3 與貝多芬生平相關的連結 35
五、結語 39
參 考 文 獻 41

一、外文書
Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. Trans. and ed. William J. Mitchell. New York: W. W. Norton and Company, 1949.
Cooper, Barry. Beethoven and the Creative Process. New York: Oxford University Press, 1990.
Cooper, Martin. Beethoven: The Last Decade 1817-1827. New York: Oxford University Press, 1970.
Quantz, Johann Joachim. On Playing the Flute. Trans. Edward R. Reilly. Boston: Northeastern University Press, 2001.
Kerman, Joseph & Alan Tyson. “Beethoven, Ludwig van.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. New York: Grove’s Dictionaries, 2001. Vol. 3, 73-122.
Kinderman, William. Beethoven. Berkeley: University of California Press, 1995.
Kramer, Lawrence. Music and Poetry: The Nineteenth Century and After. Berkeley and Los Angeles: University of California Press, 1984.
Marx, Adolf Bernhard. Musical Form in the Age of Beethoven: selected writings on theory and method. Ed. and trans. by Scott Burnham. Cambridge: Cambridge University Press, 1997.
Mendel, Hermann. Musikalisches Conversations-Lexikon. Berlin. L. Heinmann, 1870.
Newman, S. William. Beethoven on Beethoven: Playing His Piano Music His Way. New York: W. W. Norton, 1988.
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: W. W. Norton, 1997.
Thayer, Alexander Wheelock. Thayer’s Life of Beethoven. Ed. by Elliot Forbes. Princeton, NJ: Princeton University Press, 1967.
Adorno, W. Theodor. Essays on Music. Selected with introduction, commentary, and notes by Richard Leppert, new translations by Susan H. Gillespie. Berkeley: University of California Press, 2002.

二、期刊
Bilson, Malcolm. “Late Beethoven and Early Pianos.” Early Music 10, No. 4 (1982): 517-519.
Drabkin, William. “Building a Music Library: 1. The Beethoven Sonatas.” The Musical Times 126 (1985): 216-220.
Kinderman, William. “Integration and Narrative Design in Beethoven’s Piano Sonata in A-flat Major, Opus 110.” Beethoven Forum 1 (1992): 111-145.
Kolisch, Rudolf. “Tempo and Character in Beethoven Music.” Music Quarterly 77 (1993): 90-131, 268-342.
Meredith, William. “Beethoven’s Sonata in A-flat Major, Opus 110: Music of Amiability, Lament, and Restoration.” The Beethoven Journal 17, No.1 (2002): 14-29.
Newman, S. William. “The Performance of Beethoven’s Trills.” Journal of the American Musicological Society 29, No. 3 (1976): 439-462.
Rosen, Charles. “Ornament and Structure in Beethoven.” The Musical Times 111, No. 1534, Beethoven Bicentenary Issue (1970): 1198-1201.

三、樂譜
Beethoven, Ludwig Van. Piano Sonatas Vol.Ⅱ. Edited by B. A. Wallner, G. Henle edition.
Beethoven, Ludwig Van. Piano Sonatas Vol.Ⅱ. Edited by Schenker & E. Ratz, Universal edition.