十九世紀末，由於復興古樂的熱潮，巴洛克時期最重要之鍵盤樂器─大鍵琴，再度受到重視並重現音樂會舞台，在如此風潮之下，對於大鍵琴演奏者與學習者而言，處於沒有錄音資料的情況，當時所流傳下來的樂譜與文獻資料成為風格詮釋上最重要的參考依據。巴洛克時期重要的教學法之一為法國作曲家富蘭索瓦•庫普蘭所著之《彈奏大鍵琴的藝術》，內容主要說明關於其大鍵琴作品的演奏方式，對於演奏者詮釋巴洛克法國音樂風格來說，是一本最重要的文獻。
庫普蘭於一七一六年寫作的《彈奏大鍵琴的藝術》，目的是說明其最具代表性的四冊大鍵琴曲集之演奏方式。教學法內容就身體姿勢與觸鍵、樂曲速度、樂器特性、裝飾音、指法、不等值節奏以及前奏曲的傳統等方面來說明，於述說過後，並創作八首前奏曲收錄於該書中，以印證教學法中述說的內容。《彈奏大鍵琴的藝術》雖不是當時唯一流傳下來關於大鍵琴彈奏之文獻資料，但卻很少有作曲家像庫普蘭一樣，寫出主要以自己的作品為例，教授世人如何彈奏及詮釋其大鍵琴音樂之教學法。因此，當演奏者對庫普蘭的教學法全盤瞭解後，更能有把握及正確地彈奏其作品。
本文主要分為三個部份，首先對於巴洛克時期大鍵琴音樂的發展與庫普蘭之生平作介紹，第二部份為庫普蘭四冊大鍵琴曲集、八首前奏曲與教學法創作背景之闡述，第三部份則是針對教學法內容，以及當時其他學者與現代學者的看法，探討庫普蘭大鍵琴作品在演奏法上的相關問題，最後對所研究之內容作總結。

At the end of nineteenth century, as a result of the revival of the early music, harpsichord, the most important instrument in the Baroque period, was emphasized again and back to the stage. However, without any recordings been made and left, the scores and the documents became the significant references for the interpretation. This study will discuss about the performance practice issues in French composer François Couperin’s treatise “L’art de toucher le clavecin”.
The representative of Couperin’s work is his four harpsichord books. In his 1716’s treatise “L’art de toucher le clavecin”, he explained the performance practice issues of his harpsichord music. The discussion includes the body gesture, articulation, tempo, characteristic of the instrument, ornamentation, fingering, notes inégales and the tradition of prelude. Moreover, he composed eight preludes and put them at the end of the treatise for practicing. Although the treatise was not the only one which discussed about harpsichord at that time, it is rare that composers wrote instruction for other musician in order to interpret his own music.
This study includes three parts. First, the development of the harpsichord music in baroque period and François Couperin’s life are introduced. The second part explicate the historical background of the François Couperin’s four harpsichord collections, eight preludes and “L’art de toucher le clavecin”. The third part focuses on discussion of the performance practice. Finally, the conclusion will be made.

壹、前言------------------------------------------------------1
貳、歷史背景--------------------------------------------------3
一、 巴洛克時期法國大鍵琴音樂的發展 ---------------------3
二、 富蘭索瓦•庫普蘭生平--------------------------------8
參、富蘭索瓦•庫普蘭大鍵琴作品與教學法-----------------------12
一、 四冊大鍵琴曲集-------------------------------------12
二、 《彈奏大鍵琴的藝術》與八首前奏曲-------------------15
肆、《彈奏大鍵琴的藝術》內容與演奏法相關問題探討--------------19
一、 身體姿勢及觸鍵-------------------------------------19
二、 樂器特性-------------------------------------------20
三、 樂曲速度-------------------------------------------20
四、 裝飾音---------------------------------------------22
五、 指法的運用-----------------------------------------32
六、 不等值節奏-----------------------------------------40
七、 分解和絃風格---------------------------------------47
八、 樂句-----------------------------------------------48
九、 前奏曲的傳統---------------------------------------49
伍、結語-----------------------------------------------------50
附錄---------------------------------------------------------52
參考文獻-----------------------------------------------------58

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