臺灣博碩士論文加值系統

本論文的研究目的是將分析曲中的演奏手法和演奏者彈奏上所面臨的問題，並引用學者專家的看法，和個人的練習經驗，來解決三首中主要的技巧問題。其中，黃金比例(Golden Section)、非邦勒斯系列(Fibonacci Series)等觀點，也在本文中被引證是否此曲有這樣的現象。同時，並根據寫作手法的運用，來探討演奏上的問題。
綜觀巴爾托克的練習曲，從寫作手法及演奏問題等兩方面可歸納此以下結論：
一、節奏上的表現，有民間音樂的影子，尤其在自由節奏 (Parlandorubato)及嚴格速度 (Tempo giusto )這兩種流行於東歐民間音樂的節奏特色，也反映在樂曲當中。
二、彈奏技巧與在巴爾托克以往的練習曲沒有太大的變化，不同的是巴爾托克將相同技巧領往更極限的挑戰。
三、音符建立在異於傳統之和聲語法上，故造成彈奏者必須克服新和絃之適應期。
四、由於這首曲目在國內較少人彈奏，所以使大家對此樂曲更感陌生，在初次接觸時無法立即掌握其結構及技巧；也是造成此樂曲更加令人望之卻步的主因。

The mainly purposes of this investigation were analyzing the performing style of Bartok''s etudes and discussing the perform problems those virtuoso may confront.
The technical problems in these three etudes were solbed by studying the bibliography, looking for the comments of specialists and personal practiced experience. The points of Golden Sectionand Fibonacci Series were also quoted in this dissertation to evidence the phenomena whether do exist in these etudes.Furthermore,the performance problems were also discussed according to the writing skill.
Writing skill and performance problems were the primarily issues on Bartok''s etudes after having made a comprehensive survey：
1.The Peasant songs remains a reflection on the representation of tempo profoundly,the characteristics of the Parlandorubato and the Tempo giusto which was formed as popular style in East Europe songs particularly were imaged in etudes.
2.Comparing with the former etudes of Bela Bartok,the performance skills changed slightly.In the main while,Bartok piloted the same performance skills to the infinitely challenge.
3.The musical notes were built on the Harmony which was different from the traditionalstyle.Hence,the performers had to overcome the period of accommodation which came from the new chord.
4.However,this is not a popular etude domestically and the performers got few idea on it. The performers could not grasp the structure of the etude and skills immediately when they contacted it initially,it causes the performers afraid to practice this etude.

第一章 前 言1
第二章 巴爾托克生平與音樂風格3
第一節 巴爾托克生平簡介 3
第二節 巴爾托克鋼琴作品特色5
第三章 二十世紀初鋼琴練習曲的發展9
第一節 探討史克里亞賓、史特拉汶斯基、普羅高菲夫、拉赫曼尼諾夫、德布西、巴爾托克練習曲的創作手法 9
第四章 從寫作手法來探討三首練習曲13
第一節 調性 13
第二節 曲式和織度20
第三節 音型素材的使用26
第四節 節奏的使用32
第五節 音階的使用35
第六節 速度與表情記號的使用39
第五章 樂曲特色與演奏問題46
第一節 第一首46
第二節 第二首50
第三節 第三首56
第六章 結 語 62

中文參考書目：
李哲洋主編，最新名曲解說全集17：獨奏曲 。台北：大陸書局，民國七十二年初版。
胡金山主編，音樂大師12：浦羅高非夫、艾爾加、巴爾托克、拉赫曼尼諾夫、蕭士塔高維契。台北：巨英國際股份有限公司。民國八十九年再版。
徐頌仁著，音樂演奏的實際探討。台北：大陸書局，民國八十一年。
許維楨著：巴爾托克《鋼琴組曲作品14》所使用的鋼琴慣用手法。碩士論文：台北，東吳音樂研究所，1996[民85]。
黃寤蘭主編，楊忠衡、潘世姬等譯。西洋音樂百科全書8：二十世紀音樂下。台北：台灣麥克股份有限公司，1994年初版。
葉蕙蘭：探討拉赫瑪尼諾夫作品《繪畫練習曲Op.33 》：從音樂創作題材到鋼琴演奏技巧的運用。碩士論文：台北，東吳音樂研究所，2001年[民90]。
翻譯參考書目：
貝拉．巴托克著：巴托克論文書信選。湖北藝術學院作曲系編，台北：世界文物出版社，1993[民82]。
黎翁大林(Leon Dallin)著，康謳譯，二十世紀作曲法。台北：全音音樂出版社，1990年[民79] 3月四版。
露絲．史蘭倩絲卡著：指尖下的音樂，王潤婷譯，台北：大呂出版社，1997年四月初版。
中文期刊：
佐川吉男著，專集：巴托克，李鴛英譯，李哲洋編。台北：全音音樂出版社，1990 [民79]初版。
吳雅婷，淺論巴爾托克對二十世紀鋼琴音樂的貢獻。台南女子技術學院學報17。[民87]，頁301-334。
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CD
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樂譜：
Bartók, Béla. Etudes Op.18 . Florida: Master Music Publications.
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