臺灣博碩士論文加值系統

約翰•賽巴斯汀 巴赫 :十二平均律鋼琴曲，作品858
路德維希•范•貝多芬：降Ａ大調鋼琴奏鳴曲，作品110
華格納A大調鋼琴奏鳴曲，作品26
伊果•史特拉汶斯基：給鋼琴的ａ小調小夜曲

本論文將針對華格納1832年的作品《Ａ大調鋼琴奏鳴曲》來探討研究浪漫時期的音樂發展（1820-1900）、人文主義的興起以及鋼琴奏鳴曲的歷史定位，浪漫時期的音樂發展相對於透過歌頌「神」為主的古典時期不同，而是透過「人」為主，故此打破許多傳統的古典時期作曲風格及對於音樂的理解和認知，更創作出不同於古典時期的多種類藝術形式作品，例如：音樂劇（Music drama）、交響詩（Symphonic Poem）、浪漫主義歌劇（Romantic Opera）等等，華格納的作品更是具有打破當時現有音樂形式的框架、製造衝突及對立的獨特風格，不僅是和聲上頻繁使用半音體系創作手法（Chromaticism）、和聲外音（non-chord tone）、滯留音（suspension）等等，也豐富了音樂的配器聲響以及織度，大規模的強化了各聲部之間的完整度以及獨特性，而我們不僅能從華格納的歌劇作品中找到上述的特色以及風格，更可以從鋼琴奏鳴曲中窺探華格納的寫作風格與和弦配置，《Ａ大調鋼琴奏鳴曲》與華格納交響樂中的許多寫作方式有眾多雷同，本文將藉由國內外專書、期刊、論文作為作曲家相關背景之文本蒐集，再經由分析樂譜、實際演奏佐證華格納的音樂風格，並提出有根據的演奏及詮釋。

J.S.Bach (1685-1750):The Well-Tempered Clavier BWV 858
L.V.Beethoven (1770-1827):Piano Sonata Op. 110 in A-flat major
R.Wagner (1813-1883):Piano Sonata in A major WWV. 26
Igor Stravinsky (1882-1971):Serenade en la

This purpose of this study is to analyze Wagner's 1832 work "Piano Sonata in A Major" to discuss the music development in the Romantic period (1820-1900), the rise of humanism and the historical positioning of the piano sonata. It is different from the classical period in which the praise of "God" is the main focus, but "people" is the main focus. Therefore, many traditional classical composition styles and understandings and cognitions of music have been broken, and many songs different from the classical period have been created. Various art forms, such as: Music drama, Symphonic Poem , Romantic Opera , etc. Wagner's works broke the framework of the existing music forms at that time and created conflicts. And the unique style of opposition, not only the frequent use of Chromaticism, non-chord tone, suspension, etc. in harmony, but also enriches the sound of music orchestration and texture , strengthened the integrity and uniqueness of each part on a large scale, and we can not only find the above-mentioned characteristics and styles from Wagner's opera works, but also get a glimpse of Wagner's writing style from piano sonatas With chord configuration, "Piano Sonata in A Major" has many similarities with many writing methods in Wagner's symphony. , Actual performances support Wagner's music style, and put forward well-founded performances and interpretations.

第一章　緒論 1
第二章　理查‧華格納生平與音樂風格 3
第一節　理查‧華格納生平 3
第二節　理查‧華格納的鋼琴作品與風格 7
第三章　樂曲分析 9
第一節　版本比較 9
第二節　奏鳴曲式 10
第三節　富有動感的快板第一樂章 11
第四節　極具表情張力的慢板第二樂章 15
第五節　賦格樂段與常動的快板第三樂章 20
第四章　詮釋探討 43
第一節　富有動感的快板第一樂章 43
第二節　極具表情張力的慢板第二樂章 47
第三節　莊嚴且中等速度的賦格樂段 49
第四節　常動的快板樂章 51
第五章　總結 54
參考書目 56
譜　　源 57
有聲資料 57

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William Newman (1968). “Wagner’s sonatas”. Studies in Romanticism7, no. 3 129-139. Accessed March 24, 2020. Doi:10.2307/25599705.