臺灣博碩士論文加值系統

「變幻的回聲」為本論文之標題，這一標題不僅表現出這三首作品之間的聯繫，也象徵它們在不斷變化的音樂語言中對過去的回應與未來的啟發。這些作品橫跨巴洛克、古典與浪漫時期，雖然風格不同，卻在結構、情感與音樂敘述上形成了某種呼應與變化，彷彿時間與音樂語言相互交融、折射，迴盪出層層回聲。
在這三首作品中，約翰．塞巴斯蒂安．巴赫（Johann Sebastian Bach, 1685-1750）《F大調義大利協奏曲》是最早的聲音，他的作品代表著巴洛克時期的鍵盤音樂巔峰，將多聲部結構與協奏曲風格融為一體。貝多芬和舒曼的作品，則可以被視為對巴赫遺產的回聲與再創造。路德維希．凡．貝多芬（Ludwig van Beethoven, 1770-1827）的第十八號鋼琴奏鳴曲(Piano Sonata No. 18 in E-flat Major “The Hunt”, Op. 31, no. 3) 雖然屬於古典時期，但他的對話式主題發展、動機變化，以及幽默與抒情交錯的方式，都展現了一種類似巴赫的多層次結構。他的音樂在秩序與自由之間遊走，既承襲了巴赫的嚴謹，又推向更戲劇化的表現方式。而羅伯特．舒曼（Robert Schumann, 1810 - 1856）的《G小調第二號鋼琴奏鳴曲》 “Piano Sonata No. 2 in G Minor, Op. 22” 則進一步發展了這種多層次結構，透過極端的對比、詩意的語言與幻想性的變化，將巴赫的對位思維與貝多芬的結構邏輯融合為浪漫時期的個人語言。舒曼深受巴赫影響，他的鋼琴音樂經常融入賦格、模仿與動機發展，使他的作品帶有一種「回聲」的特質，既回應了前人的音樂遺產，也推動音樂向新的方向發展。
這三首作品雖然共享創作技巧上的傳承，例如轉調、和聲進行的方式，但它們在音樂語言的運用上卻各有不同，呈現出音樂風格如何在歷史中不斷變化與演進。巴赫《F大調義大利協奏曲，作品九七一》“Italian Concerto in F Major, BWV 971” 的音樂語言是嚴謹且均衡的。他的旋律線條清晰，對位技法嚴密，並以強弱對比塑造類似協奏曲的層次感。這是一種理性與秩序的音樂，建立在嚴格的和聲與結構之上。貝多芬的《第十八號鋼琴奏鳴曲》則在秩序中增添了更多的戲劇性變化。他的主題雖然仍然清晰，但更富有個性與幽默感，並且經常出現意想不到的轉折，使音樂更具表現力。舒曼的《第二號鋼琴奏鳴曲》則完全進入浪漫時期的個人語言。他的音樂變化莫測，經常在一個瞬間從激烈轉為抒情，或從幻想般的飄渺轉向狂熱的動機發展。他的音樂就像是不斷變幻的回聲，時而迴盪在深沉的詩意之中，時而爆發出奔放的情感與炫技性的音樂語言。
「變幻的回聲」也體現了這些作品在聆聽時所帶來的感受。巴赫的清晰對位、貝多芬的節奏變化與舒曼的夢幻色彩，讓音樂在結構與情感層面上產生千變萬化的回響。聽者在演奏或欣賞這些作品時，彷彿能感受到一種跨越時代的對話，從理性的架構轉向感性的流動，最終融入個人內心的共鳴。

“Shifting Echoes” is the title of this thesis. This title not only expresses the connections among the three selected works, but also symbolizes their responses to the past and their inspirations for the future within an ever-changing musical language. Spanning the Baroque, Classical, and Romantic periods, these works differ in style yet form a kind of resonance and transformation in their structures, emotions, and musical narratives—as if time and musical language intertwine, refract, and ripple into layers of echo.

Among these three works, Johann Sebastian Bach’s (1685–1750) "Italian Concerto in F Major" is the earliest voice. His composition represents the pinnacle of Baroque keyboard music, fusing polyphonic texture with the characteristics of the concerto style. The works of Beethoven and Schumann may be regarded as echoes and recreations of Bach’s legacy. Ludwig van Beethoven’s (1770–1827) Piano Sonata No. 18 in E-flat Major, “The Hunt,” Op. 31, No. 3, though belonging to the Classical period, demonstrates a multilayered structure reminiscent of Bach through its conversational thematic development, motivic transformations, and interplay of humor and lyricism. His music moves fluidly between order and freedom, inheriting Bach’s rigor while pushing it toward a more dramatic expression.

Robert Schumann’s (1810–1856) "Piano Sonata No. 2 in G Minor, Op. 22" further develops this multilayered structure. Through extreme contrasts, poetic language, and imaginative transformations, he merges Bach’s contrapuntal thinking with Beethoven’s structural logic to create a personal musical language characteristic of the Romantic era. Deeply influenced by Bach, Schumann frequently incorporates fugue, imitation, and motivic development into his piano works, giving his music an “echo-like” quality—responding to the musical heritage of his predecessors while also propelling music in new directions.

Although these three pieces share certain compositional legacies—such as approaches to modulation and harmonic progression—their use of musical language differs, revealing how musical style continually transforms and evolves throughout history. "Bach’s Italian Concerto in F Major, BWV 971" employs a precise and balanced musical language. His melodic lines are clear, his contrapuntal technique meticulous, and he shapes a concerto-like sense of layering through contrasts in dynamics. This is a music of rationality and order, built upon strict harmony and structure. Beethoven’s "Piano Sonata No. 18" adds dramatic variety to this sense of order. While his themes remain clear, they are more expressive and humorous, often taking unexpected turns that heighten the music’s expressivity. Schumann’s "Piano Sonata No. 2" fully enters the Romantic realm of personal musical language. His music is unpredictable—shifting in an instant from intensity to lyricism, or from dreamlike delicacy to fervent motivic development. His music resembles continuously transforming echoes: at times resonating with profound poetic depth, at other times bursting with unrestrained emotion and virtuosic energy.

“Shifting Echoes” also reflects the listening experience these works evoke. Bach’s lucid counterpoint, Beethoven’s rhythmic vitality, and Schumann’s dreamlike colors create ever-changing resonances on both structural and emotional levels. Whether performing or listening, one seems to perceive a dialogue across eras—a journey from rational architecture to emotional fluidity, ultimately merging into a deeply personal inner resonance.

目錄.........................................................i
表目錄........................................................ii
譜例目錄.......................................................iii
壹、曲目規劃理念.........................................................1
貳、樂曲解析與詮釋.........................................................3
一、巴赫《F大調義大利協奏曲，作品九七一》.......................................................3
（一）第一樂章.........................................................6
（二）第二樂章........................................................11
（三）第三樂章........................................................14
二、貝多芬《降E大調第十八號鋼琴奏鳴曲「狩獵」，作品三十一之三》......................................................18
（一）第一樂章........................................................20
（二）第二樂章........................................................25
（三）第三樂章........................................................30
（四）第四樂章........................................................33
三、舒曼《G小調第二號鋼琴奏鳴曲，作品二十二》......................................................38
（一）第一樂章........................................................40
（二）第二樂章........................................................46
（三）第三樂章........................................................48
（四）第四樂章........................................................50
參、結論........................................................55
參考文獻........................................................57
附錄........................................................59

一、中文
克里姆遼夫。《貝多芬32首鋼琴奏鳴曲作品解析》（Beethoven Piano Sonatas）。丁逢辰 譯，台北：五南圖書出版股份有限公司，2023。
岡部博司。《舒曼》。林勝儀 譯。台北：美樂，2006。
音樂之友社編。《作曲家別一名曲解說珍藏版3貝多芬》。林勝儀 譯 ，台北：美樂。1999。
邵義強。《巴洛克樂曲賞析》。台北：錦繡，2001。
邵義強。《浪漫派樂曲賞析（二）》。台北：錦繡，1999。
皆川達夫。《巴洛克音樂》。吳憶帆 譯。台北，志文，2001。

二、外文
Berry, Wallace. FORM IN MUSIC. Endlewood Cliffs: New Jersey: Prentice-Hall, Inc., 1986.
Blime, Friedrich. Die Musik in Geschichte und Gegenwart, Personenteil 1. Germany: Bärenreiter Verlag, 1994.
Donington, Robert. The Interpretation of Early Music, London: Faber and Faber, 1963.
Kinderman, William. Beethoven. Oxford: Oxford University Press, 1995.
Ostwald, Peter. SCHUMANN The Inner Voices of a Musical Genius. Boston: Northeastern University Press, 1985.
Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth - Century Europe. New York & London: W. W. Norton & Company, 1984.
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven, expanded edition. New York: W.W. Norton, 1997.
Sadie, Julie Anne. Companion to Baroque Music. London: J. M. Dent & Sons Ltd, 1990.
Stolba, K. Marie. The Development of Western Music: A History. California: W.C. Brown, 1990.

三、期刊
Capell, Richard. “Beethoven.” In Jstor. J ournal STOR age,
https://www.jstor.org/stable/727721?searchText=beethoven+biography&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dbeethoven%2Bbiography%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A36b23fe7aeb5b5a545869b435123324a&seq=1 (accessed January 8, 2025)
Williams, Peter. “The Harpsichord Acciaccatura: Theory and Practice in Harmony, 1650-1750,” The Musical Quarterly 66, No. 4, 1980.
https://www.jstor.org/stable/741071. (accessed January 21, 2025)

四、線上辭典
國家教育研究雙語詞彙、樂詞網，Ritornello form。網路資料來源：https://terms.naer.edu.tw/detail/250b3baefb09a9ee290fdb8a4e698d02/?seq=2 (accessed February 5, 2025)
Daverio, John. "Schumann, Robert." Grove Music Online. 2001.
https://www.oxfordmusiconline.com/grovemusic/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040704#omo-9781561592630-e-0000040704-bibliography-1 (accessed January 19, 2025)

五、影音資料
Lu, Elsie. Master Class with Pianist Jon Kimura Parker, recorded at 2022 Southeastern Piano Festival, Columbia, South Calolina: Schumann Sonata No. 2, Op. 22, 1st Movement.
<https://www.youtube.com/watch?v=JTpP0J4uSLg>（瀏覽日期：2025.03.05）
Murray Perahia's masterclass, recorded live at Jerusalem Music Centre: Schumann Piano Sonata No. 2
<https://www.youtube.com/watch?v=vNUgywiEBwE>（瀏覽日期：2025.03.05）
Piano Masterclass with Jerome Rose: Beethoven Sonata “The Hunt,” No. 18, Op. 31 No. 3
<https://www.youtube.com/watch?v=YnB4qhynhps>（瀏覽日期：2025.03.05）
Sir András Schiff Piano Master Class, recorded live at Juilliard's Paul Hall on October 16, 2017<https://www.youtube.com/watch?v=3-mPaaHvLLU>（瀏覽日期：2025.03.05）

六、樂譜
Bach, Johann Sebastian. Italienisches Konzert BWV 971. Edited by Rudolf Steglich, Erlangen: G. Henle Verlag, 1970.
Beethoven, Ludwig van. Klaviersonate Nr.18 Es-dur Opus 31 Nr. 3. Edited by Norbert Gertsch, Munich and London: G. Henle Verlag, 2004.
Schumann, Robert. Klaviersonate g-moll Opus 22. Edited by Ernst Herttrich, Remagen: G. Henle Verlag, 2009.