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面對十九世紀以德意志傳統為主流的音樂文化，波蘭背景的蕭邦如何與這典範對話?而他創作於1845年的G小調大提琴奏鳴曲又會與德意志傳統擦出什麼火花?
此作品為蕭邦唯一的大提琴奏鳴曲，也是他生前最後一個出版的作品。晚期的蕭邦對於自己在創作上充滿了野心及企圖心，除了再次挑戰為鋼琴以外的樂器作曲，在寫作的風格上更企圖和德意志的音樂傳統作連結，以顯示他對於主流音樂文化的掌握。
然而，在與傳統對話的過程中，蕭邦卻不忘呈現出屬於自己國族及個人的特色，保留且堅持自己的特色。此作品中獨特的創作手法、素材，以及在形式、調性上不同於傳統奏鳴曲式的設計安排，皆顯示了蕭邦對於德意志傳統為中心的奏鳴曲式之企圖心及創新思維。而傳統與創新、國族情感與歐洲主流兩個面向之拉扯，便在此呈現出來。

In the 19th century, the music culture was dominated by the traditional German style. As a Pole, how could Chopin interact with the different music culture? And did the German style influence Chopin’s G Minor Cello Sonata, which was composed in 1845?
The G Minor Cello Sonata was the last composition of Chopin before he died. Also, Chopin showed the great ambition on his compositions in the late period and there are two evidences .First, he created many compositions for different instruments besides the piano, and it was a challenge for him. Second, he tried to prove the ability of composing the mainstream music style, so he used some German style’s character on his works.
Even though Chopin put so much effort to make the connection between his work and German style, Chopin didn’t give up to present the Poland style and his own characteristics. In other words, these two different styles were demonstrated on G minor Cello Concerto adequately. Chopin intended to combine his creativity with the traditional German style on this piece, by using the unique material, the form, the key center, which are differ from the traditional sonata form. In conclusion, the G Minor Cello Sonata reveals Chopin’s intelligence of combining the two different aspects, the tradition with the innovation, and the German style with the Poland style.

目錄

演奏會曲目與輔助文件摘要 ⅰ
Recital Program and Paper Abstract ⅱ
誌謝 ⅳ
李珮瑜大提琴演奏會CD目錄 ⅴ
目錄 ⅵ
譜例目錄 ⅷ
表目錄 ⅸ

輔助文件：蕭邦G小調大提琴奏鳴曲與德意志傳統的對話

序論 1

第一章蕭邦的大提琴作品 3
第一節四首大提琴室內樂作品 3
第二節使用大提琴的原因 6

第二章被低估的鉅作：作品六十五之創作背景及接受史 8
第一節創作背景 8
第二節作品接受史 10

第三章從巴赫的對位手法、古典的奏鳴曲式到蕭邦的創意思維 13
第一節巴哈對位手法對蕭邦的影響 13
第二節蕭邦和古典奏鳴曲式的對話 16
第三節蕭邦後期創作的思維 19
一、蕭邦奏鳴曲式的形成 19
二、作品六十五的獨特創作手法 24

結論 45

參考文獻 47
書目 47
樂譜 48

參考文獻

書目
Azoury, Pierre. Chopin Through His Contemporaries: Friends, Lovers, and Rivals. London: Greenwood, 1999.
Huneker,James. Chopin: The Man and His Music. New York: Dover, 1966.
Samson, Jim.The Music of Chopin. Oxford: Clarendon, 1994.
_____. “Chopin’s Violin Sonata.” In Chopin’s Work: His Inspirations and Creative Process in the Light of the Sources, edited by ArturSzklener, 177-189. Warsaw: NarodowyInstytutFryderykaChopina, 2003.
_____, ed.The Cambridge Companion to Chopin. Cambridge: Cambridge University Press, 1992.
Schmalfeldt, Janet. “Chopin’s Dialogue: The Cello Sonata, Op. 65.” In Chopin’s Musical Worlds: The 1840’s, edited by ArturSzklener, 265-291. Warsaw: NarodowyInstytutFryderykaChopina, 2008.
_____. In the Process of Becoming:Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. Oxford: Oxford University Press, 2011.
Stowell, Robin, ed. The Cambridge Companion to the Cello. Cambridge: Cambridge University Press, 1999.
Sutcliffe, W. Dean.“Chopin’s Counterpoint: The Largo from the Cello Sonata, Opus 65.”The Musical Quarterly, Vol. 83, No. 1 (Spring, 1999): 114-33.
歐本尼‧亨利。《蕭邦書信集》。潘保基譯。臺北市：世界文物。民國84年。
焦元溥。《聽見蕭邦》。臺北市：聯經出版，民國99年。
蕭爾茲‧泰德。《蕭邦在巴黎》。馬永波譯。臺北市：高談文化。民國96年。
音樂之友社。《蕭邦》。林勝儀譯。臺北市：美樂出版社。民國88年。
秦詩威。〈蕭邦g小調大提琴奏鳴曲作品六十五之曲式分析與演奏詮釋〉。高雄市：國立高雄師範大學音樂學系碩士論文，民國99年。

樂譜
Chopin, Frédéric. Sonata for Cello and Piano in G minor, op.65, edited by Jan Ekier. Warsaw: PWM Edition, 2010.
Chopin, Frédéric. Sonata for Cello and Piano in G minor, op.65, edited by Pierre Fournier. New York: International Music Company, 1974.