臺灣博碩士論文加值系統

隨著十八世紀末的法國大革命和工商業的興盛，自由、民權意識高漲，平民百姓為伸張人權而奮鬥，以個人主義為首的「浪漫主義」就此產生，強調以人為本，重感性，富想像力；此時期音樂風格不受形式的拘泥，自由的表現出幻想中的事物，音樂家大多喜以「標題音樂」的方式將作品更具體化地呈現出，對於創作形式、結構工整之「奏鳴曲」則不若古典時期作曲家廣泛應用。
舒曼(Robert Schumann, 1810-1856)此首第三號鋼琴奏鳴曲，為其少見的以大規模曲式所創作的樂曲，內容的豐富勝於結構的安排；奏鳴曲式之架構已脫離古典時期的典型手法，發展部於再現部之後再次完整重申為一特色；以克拉拉動機貫穿全曲，和聲、語法皆流露舒曼個人的獨特風格。
本文包含樂曲內涵、樂曲分析與彈奏詮釋、版本比較等方面。「樂曲內涵」對樂曲之創作背景作說明，並歸納出舒曼慣有之主題、調性、和聲、對位、節奏、旋律線等創作手法。「樂曲分析與彈奏詮釋」，樂曲分析以曲式、結構、主題動機、旋律、和聲、節奏、調性、樂句等方面，配合舒曼個人獨特的創作手法進行分析，並與其他作品作比較，以及指出初版、再版的修改處；彈奏詮釋方面，除了就浪漫時期的音樂風格和舒曼音樂的特色，對彈奏上音色的處理、速度的選擇、曲風的詮釋、樂句的分割連結、呼吸的要領、指法的選擇、踏瓣的輔助、力度的運用、強弱的大小對比等實務方面進行探討。「版本比較」以多位鋼琴家演奏的錄音版本和多種樂譜版本作分析、探討。透過分析、探討，配合實際彈奏上的心得，期能以適當、貼切的文字、語言詮釋此首樂曲。

During the rise of the French Revolution, industrial and commercial business in the end of the eighteen century, consciousness of freedom and civil rights were increasing in an unprecedented manner. Citizens were fighting for their human rights, and thus, Romanticism took off. Romanticism focused on human beings and emphasized on the sensibility and imagination. The music style during this period of time was formless and one could freely express his ideas and composers preferred “Program Music” and tried to personify their compositions. As for stylized sonata, it was not popularly introduced as it was during the Classical period.
The Piano Sonata No.3, Op.14 of Robert Schumann was rare music made by extensive format and its content was much more fullness than structure. The structure of sonata form had been out of the typical way of Classical period and one of its features was to recall the development completely after the recapitulation. To let the “Clara” motive over through this composition, both of the harmony and syntax appeared Schumann’s individual and unique style.
This article is included of music connotation、composition analysis and performing interpretation、comparing the 1st edition with the 2ed edition and so on.
music connotation is the explanation about the background of creating and the conclusion of Schumann’s used composition techniques such as subjects、keys、harmonies、counterpoints、rhythms、melodies. Composition analysis is to analyze、compare with others and point out the different of the 1st edition and the 2ed edition according to forms、structures、subjective motives、melodies、harmonies、rhythms、keys、phrases and Schumann’s special creative way. As to performing interpretation, expect the musical style in the period of Romanticism and Schumann’s musical specialty，it also research to the use in practical such as dealing with the tone color of playing, choosing the tempo, interpreting the music style, dividing the phrase, the main points of breath, choosing the fingering, pedal assistance, performing dynamics and the contrast between forte and piano, etc. Comparing edition is to take some piano players’ CD and various scores to analyze and research. Wish to use more adaptable, apt words and languages to interpret this composition through analysis, research and results of playing practically.

第一章 緒論‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧1
第二章 樂曲內涵‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧5
第一節 創作背景‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧5
第二節 創作特色‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧7
第三章 樂曲分析與彈奏詮釋‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧12
第一節 第一樂章 快板‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧12
第二節 第二樂章 頗為悠閒的詼諧曲‧‧‧‧‧‧‧‧‧‧‧‧‧30
第三節 第三樂章 變奏曲風格地. 克拉拉‧威克的小行板‧‧‧‧39
第四節 第四樂章 盡可能的最急板‧‧‧‧‧‧‧‧‧‧‧‧‧‧56
第四章 版本比較‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧70
第一節 多位鋼琴家演奏風格比較‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧70
第二節 樂譜版本比較‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧75
第五章 結語‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧77
參考文獻‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧80

一、中文書目
Chissell, Joan著。舒曼：鋼琴曲（Schumann: Piano Music），林勝儀 譯。台北：
全音，1994。
Höcker, Karla著。克拉拉‧舒曼，陳鳳凰 譯。台北：樂韻，1982。
Lhevinne, Josef著。鋼琴彈奏的基本原則（Basic Principles in Pianoforte Playing），
陳芳玉 譯。台北：全音，1997。
Liszt, Franz著。李斯特論白遼士與舒曼（Berlioz and His HAROLD. Robert
Schumann.），張洪島 等譯。台北：世界文物，1994。
Reich, Nancy B.著。克拉拉之死（Clara Schumann: The Artist and the Woman），陳
秋萍、游淑峰 譯。台北：高談，2000。
Schonberg, Harold C.著。浪漫樂派，陳琳琳 譯。台北：久大，1990。
方之文著。舒曼-詩的音樂，音樂的詩。台北：世界文物，2001。
史惟亮著。舒曼。台北：希望，1972。
吳祖強著。曲式與作品分析。台北：世界文物，1994。
林公欽著。鋼琴踏瓣使用研究。台北：宏學，1987。
林公欽著。舒曼鋼琴變奏曲。國立編譯館，2003。
陳玉芸著。舒曼鋼琴代表作之研究。台北：全音，1991。
許鐘榮編。浪漫派的旗手。台北：錦繡，2001。
劉志明著。曲式學。台北：全音，1997。
二、外文書目
Banowetz, Joseph. The Pianist’s Guide to Pedaling. Bloomington: Indiana University
Press, 1985.
Brion, Marcel. Schumann and the Romantic Age. New York: Macmillan, 1956.
Brown, Thomas Alan. The Aesthetics of Robert Schumann. New York: Philosophical
Library, 1968.
Chissell, Joan. Schumann. Rev. ed. London: J.M. Dent & Sons Ltd, 1989.
Daverio, John. Nineteenth-Century Music and the German Romantic Ideology. New
York: Schirmer Books, 1993.
______. Robert Schumann: Herald of a “New Poetic Age.” New York: Oxford
University Press, 1997.
Dowley, Tim. Schumann: His Life and Times. New Jersey: Paganiniana Publications,
1981.
Gieseking, Walter & Karl Leimer. Piano Technique. New York: Dover Publications,
1972.
Green, Douglass M. Form in Tonal Music. Florida: Harcourt Brace Jovanovich, 1993.
Ives, Charles. Essays Before a Sonata. New York: W.W. Norton, 1970.
Kitchens, Melinda Leunette. “Free Polyphonic Texture in Selected Early Piano Works
of Robert Schumann.” D.M.A. diss., University of Alabama, 1993.
Lhevinne, Josef. Basic Principles in Pianoforte Playing. New York: Dover
Publications, 1972.
Marston, Nicholas. “Schumann’s Monument to Beethoven.” 19th Century Music 14/3
(1991): 247-64.
Maxwell, Carolyn & William DeVan, ed. Schumann Solo Piano Literature. Colorado:
Maxwell Music Evaluation Books, 1984.
Newman, William S. The Sonata Since Beethoven. Chapel Hill: The University of
North Carolina Press, 1969.
Ostwald, Peter. Schumann: The Inner Voices of a Musical Genius. Boston:
Northeastern University Press, 1985.
Perry, Mary D. “Dissonance Treatment in Schumann’s Solo Piano Music.” Ph.D.
diss., New Wirk University, 1991.
Pleasants, Henry, trans. and ed. Schumann on Music: A Selection from the Writings.
New York: Dover Publications, 1965.
Ratner, Leonard G. Romantic Music: Sound and Syntax. New York: Schirmer Books,
1992.
Reich, Nancy B. Clara Schumann: The Artist and the Woman. Ithaca: Cornell
University Press, 1985.
Roesner, Linda Correll. “The Autograph of Schumann’s Piano Sonata in F Minor, Op.
14.” The Musical Quarterly 61 (1975): 98-130.
______. “Brahms’s Editions of Schumann.” In Brahms Studies: Analytical and
Historical Perspectives, ed. George S. Bozarth. Oxford: Clarendon Press, 1990.
______. “Schumann’s ‘Parallel’ Forms.” 19th Century Music 14/3 (1991): 265-78.
Rosen, Charles. Sonata Forms. New York: Norton, 1980.
Todd, R. Larry, ed. Nineteenth-Century Piano Music. New York: Schirmer Books,
1990.
_______, ed. Schumann and His World. Princeton: Princeton University Press, 1994.
Vitercik, Greg. The Early Works of Felix Mendelsson: A Study in the Romantic Sonata
Style. Pennsylvania: Gordon and Breach Science Publishers, 1992.
三、樂譜
Schumann, Robert. Piano Music of Robert Schumann Series I, ed. Clara Schumann.
New York: Dover Publications, 1972.
Schumann, Robert. Piano Music of Robert Schumann Series III, ed. Clara Schumann.
New York: Dover Publications, 1972.
Schumann, Robert. Schumann Klavierwerke 1, ed. Motonari Iguchi. Tokyo:
Shunjûsha Edition, 1974.
Schuman, Robert. Schumann Klavierwerke III, ed. Clara Schumann. Leipzig: Edition
Breitkopf, 1989.
Schumann, Robert. Schumann: 3me Grande Sonate, ed. Alfred Cortot. Paris: Éditions
Salabert.
四、有聲資料
Banfield, Volker. Robert Schumann Piano Sonata 1-3. Cpo 999 217-2, 1993. CD.
Demidenko, Nikolai. Schumann Piano Sonatas. Hyperion CDA66864, 1996. CD.
Gianoli, Reine. Schumann Intégrale Piano 9. M.P.O. 13.249-2, 1974. CD.
Horowitz, Vladimir. Horowitz Plays Schumann. BMG 6680-2-RG, 1989. CD.
Janis, Byron. Mercury Living Presence. PolyGram 4340333-2, 1994. CD.
Mazzola, Patrizio. Robert Schumann. Pan Classics 510 091, 1995. CD.
Pollini, Maurizio. Robert Schumann. Deutsche Grammophon 471 369-2, 2001. CD.