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加布里埃爾．於爾班．佛瑞（Gabriel Urbain Fauré, 1845-1924），為法國著名的作曲家，創作風格受到蕭邦（Frédéric François Chopin, 1810-1849）、舒曼（Robert Alexander Schumann, 1810-1856）、孟德爾頌（Jakob Ludwig Felix Mendelssohn Bartholdy, 1809-1847）等前人的影響與啟發，在音樂作品中繼承了法國音樂的傳統，並賦予了更加複雜多變的音響效果，使其在法國近代音樂歷史上佔有舉足輕重的地位。佛瑞的鋼琴創作中，可依照創作手法分為早期、中期以及晚期三個時期，本文挑選其中的《B大調夜曲，第二號，作品三十三》（Nocturne No. 2 in B Major, Op. 33）、《升C小調夜曲，第七號，作品七十四》（Nocturne No. 7 in C-sharp Major, Op. 74）與《E小調夜曲，第十二號，作品一零七》（Nocturne No. 12 in E Minor, Op. 107），作為分析與詮釋的樂曲。
早期的作品承襲了蕭邦音樂中極富歌唱性的風格，於1880年寫下了《B大調夜曲，第二號，作品三十三》，曲式架構簡明，並呈現出優雅而具有流動性的的音樂內涵。1898年創作的《升C小調夜曲，第七號，作品七十四》，在創作手法上，不斷變動的調性、特有的複雜節奏型態，以及佛瑞在和聲變化上的巧思與安排，皆造就作品展現其獨有的個人風格。1915年，佛瑞創作了《E小調夜曲，第十二號，作品一零七》，樂曲中運用大量的半音素材，創造出佛瑞晚期特有的和聲色彩，表達方式雖較為內斂，卻蘊含著非常深層的情感。
全文共分成五章，第一章緒論，包含研究動機與目的、研究範圍與方法；第二章概述佛瑞的生平與鋼琴音樂風格；第三章概述夜曲的起源與發展並探討三首夜曲之音樂內涵；第四章演奏詮釋，將以上三個作品依照創作手法與樂曲內涵提出個人的詮釋觀點；第五章為結語，綜合本文內容，提出心得。

Gabriel Urbain Fauré (1845-1924), a famous French composer, his compositional style was influenced and inspired by Frédéric François Chopin (1810-1849), Robert Alexander Schumann (1810-1856) and Jakob Ludwig Felix Mendelssohn Bartholdy (1809-1847). His music works was inherited French music tradition, given more complex and changeable sound effects, that make him play a decisive role in modern French music history. According to Fauré’s piano works, his compositions were divided into three periods.
His early compositions were inherited cantabile style of Chopin’s. He composed Nocturne No. 2 in B Major, Op.33 in 1880, it showed elegance characteristic. Nocturne No. 7 in C-sharp Minor, Op. 74, composed in 1898, included variety tonality and more complex tempo, present unique personal style. In 1915, he composed Nocturne No. 12 in E Minor, Op. 107, which used lots of chromatic materials. Comparing to his previous works, he created more unique color and showed deep emotion.
This thesis has six chapters. Chapter one, the preface, includes research motive, purpose, scope and method. Chapter two, introduces Fauré’s life and piano musical style. Chapter three, discuss the origin and compositional style changes of nocturnes, analyzes three nocturnes. Chapter four, performance interpretation, provides personal point of music connotation of the three works. Chapter five, conclusion.

摘要..................................................................................................ⅰ
Abstract............................................................................................ⅱ
目錄..................................................................................................ⅲ
表目錄..............................................................................................ⅴ
譜例目錄..........................................................................................ⅵ
第一章 緒論......................................................................................1
第一節 研究動機與目的............................................................1
第二節 研究範圍與方法............................................................2
第二章 佛瑞之鋼琴創作風格概述..................................................5
第一節 佛瑞生平.............................................................5
第二節 佛瑞鋼琴作品特色概述..............................................10
第三章 樂曲分析...............................................................20
第一節 夜曲的起源與發展..................................................20
第二節《B大調夜曲，作品三十三，第二號》................27
第三節《升C小調夜曲，作品七十四，第七號》.................40
第四節《E小調夜曲，作品一零七，第十二號》...................54

第四章 演奏詮釋......................................................................64
第一節《B大調夜曲，作品三十三，第二號》...................64
第二節《升C小調夜曲，作品七十四，第七號》...............82
第三節《E小調夜曲，作品一零七，第十二號》...............107
第五章 結論..................................................................................119
引用書目.....................................................................................122

樂譜
Fauré, Gabriel. 13 Nocturnes for Solo Piano. Ed. Roy Howat. London: Peters Edition
Limited, 2006. Print

中文期刊
Huang, Yu-Ting. “Gabriel Fauré's Piano Musical Style-Discussions on his Nocturnes.”
真理大學人文學報，第一期，第163-190頁。2003。

西文資料
Cirka, Peter. A Profound Identity: Evidence of Homogeneity in Gabriel Fauré’s Thirteen Piano Nocturnes. Diss. Boston University, 2015. Print.
Copland, Aaron. “Gabriel Fauré, a Neglected Master.” The Musical Quarterly 10, no. 4 (1924): 573-586. Print.
Duchen, Jessica. Gabriel Fauré. London: Phaidon, 2000. Print.
Faure-Fremiet, Fhilippe. Gabriel Fauré. Paris: Hamelle, 1958. Print.
Howat, Roy. “Chopin’s influence on the fin de siècle and beyond.” The Cambridge Companion to Chopin. Cambridge: Cambridge University Press, 1992. Print.
Jones, Barrie J. ed. and trans. Gabriel Fauré – A Life in Letters. London: B.T.
Batsford Ltd., 1990. Print.
Murdock, Jessica L. Night Music: The Twentieth Century Nocturne in Piano Teaching. Diss. University of Northern Colorado, 2012. Print.
Nectoux, Jean-Michel. Gabriel Fauré: A Musical Life. Tran. Roger Nichols. New York: Cambridge University Press, 1991. Print.
Phillips, Edward R. Gabriel Fauré: A Research and Information Guide. 2nd ed. New York: Routledge, 2011. Print.
Phillips, Edward R. “Smoke, Mirrors and Prisms: Tonal Contradiction in Fauré.” Music Analysis 12, no. 1 (1993): 3-24. Print
Sackville-West, Edward and Desmond Shawe-Taylor. The Record Guide. London: Collins, 1955. Print
Samson, Jim, ed. The Cambridge Companion to Chopin. New York: Cambridge University Press, 1992. Print.
Steibelt, Daniel. Letter of Madame Pleyel to Ignaz Pleyel quoted in Gottfried Müller. Leipzig, 1933. Print.
Sobaskie, James William. “The Emergence of Gabriel Faure's Late Musical Style and Technique.” Journal of Musicological Research 22, no. 3 (2003): 223-275. Print.

網路資源
國家教育研究院之雙語詞彙、學術名辭暨辭書資訊網
（http://terms.naer.edu.tw/）

延伸閱讀
Caballero, Carlo. Fauré and French Musical Aesthetics. Cambridge: Cambridge University Press, 2003. Print.
Faure-Fremiet, Fhilippe. Gabriel Fauré. Paris: Hamelle, 1958. Print
Howat, Roy. The Art of French Piano Music : Debussy, Ravel, Fauré, Chabrier. Bodmin: MPG Books Ltd., 2009. Print.
Johnson, Graham. Gabriel Fauré: The Songs and their Poets. England: Routledge, 2009, Print.
Kopp, David. Chromatic Transformations in Nineteenth-Century Music. New York: Cambridge University Press, 2002. Print.
Landormy, Paul and Herter Norton. “Gabriel Fauré” The Musical Quarterly 17, no. 3 (1931): 293-301. Print.
Leeuw, Ton de. Music of the Twentieth Century : A Study of its Elements and Structure. Tran. Stephen Taylor. Amsterdam: Amsterdam University Press, 2005. Print.
Nectoux, Jean-Michel. The Correspondence of Camille Saint-Saëns and Gabriel Fauré: Sixty Years of Friendship. Trans. and ed. J. Barrie Jones. England: Ashgate Publishing Limited, 2004. Print.
Nectoux, Jean-Michel. “Works Renounced, Themes Rediscovered: Eléments Pour Une Thématique Fauréenne.” 19th-Century Music 2, no. 3 (1979): 231-244. Print.
Samson, Jim. The Cambridge History of Nineteenth-Century Music. New York: Cambridge University Press, 2002. Print.
Schachter, Carl, L. Poundie Burstein and David Gagné, eds. Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter. New York: Pendragon, 2006. Print.
Smith, Richard Langham and Caroline Potter, eds. French Music Since Berlioz. London: Ashgate Publishing Company, 2006. Print.
Zoltan, Roman. “Gradus ad Parnassum: Selected Early Songs of Gabriel Fauré in the Socio-Cultural Context of his Time.” Studia Musicologica 48, no. 1 (2007): 5-44. Print.