胡斯拉夫·馬替奴(Bohuslav Martinů, 1890-1959)為二十世紀捷克作曲家，一生中受許多音樂風格的影響，也寫作了許多不同類型的作品，不過相較於其他二十世紀作曲家，馬替奴的作品較少受到大眾的注意。馬替奴一共寫作了五首小提琴奏鳴曲，《第三號小提琴與鋼琴奏鳴曲，作品三○三》(Sonata for Violin and Piano No.3, H.303)於一九四四年完成，是唯一一首馬替奴在美國期間所完成的小提琴奏鳴曲。
本文將分為四個章節，第一章介紹作曲家馬替奴的生平、創作生涯及作品風格；第二章討論馬替奴在作品中慣用的五個創作技巧與特色；第三章分析《第三號小提琴與鋼琴奏鳴曲，作品三○三》在曲式、創作技巧與特色的使用；最後一章以馬替奴在《第三號小提琴與鋼琴奏鳴曲，作品三○三》裡的節奏動機發展與運用來討論節奏的組織複雜度。

Bohuslav Martinů was a Czech composer in the 20th century. He was influenced by many musical styles throughout his life and composed different genres of music. However, Martinů's works were less popular and rarely recognized among the audience when comparing to other composers in the same era. Martinů wrote five violin sonatas. His Sonata for Violin and Piano No.3, H.303, completed in 1944, is the only one composed in the United States.
This essay is divided into four chapters. The first chapter introduces the life, the compositional periods, as well as the music style of Martinů. The second chapter talks about the five compositional techniques and characteristics of Martinů. The third chapter analyzes the form of Sonata for Violin and Piano No.3, H.303 and exemplifies the compositional techniques Martinů employed. The final chapter discusses the use of rhythmic motives and how it is further developed and organized in Sonata for Violin and Piano No.3, H.303.

目錄

論文審定書……………………………………………………………………………………………………………….i
中文摘要………………………………………………………………………………………………………………….ii
英文摘要…………………………………………………………………………………………………………………iii
前言...................................................................................................................................................................1
第一章 博胡斯拉夫·馬替奴生平、作品風格及創作生涯......................................................................................2
第一節 馬替奴的生平.........................................................................................................................................2
第二節 馬替奴的作品風格及創作生涯................................................................................................................7
第二章 馬替奴的五個創作技巧與特色................................................................................................................12
第一節 早期音樂............................................................................................................................................12
第二節 曲式架構............................................................................................................................................15
第三節 和聲設計............................................................................................................................................18
第四節 節奏運用............................................................................................................................................20
第五節 爵士元素............................................................................................................................................27
第三章 馬替奴《第三號小提琴與鋼琴奏鳴曲，作品三○三》樂曲分析...............................................................31
第一節 第一樂章............................................................................................................................................31
第二節 第二樂章............................................................................................................................................39
第三節 第三樂章............................................................................................................................................47
第四節 第四樂章............................................................................................................................................52
第四章《第三號小提琴與鋼琴奏鳴曲，作品三○三》節奏動機的發展與運用......................................................61
結語 ...................................................................................................................................................................71
附錄一 馬替奴作品列表 ....................................................................................................................................73
參考書目..............................................................................................................................................................84

西文書目:
Beckerman, Michael. Martinů's mysterious accident : essays in honor of Michael Henderson. Hillsdale, N.Y. : Pendragon Press, 2007.
Loft, Abram. Violin and Keyboard :Tthe Duo Repertoire. Portland, Or. : Amadeus Press, 1991.
Morgan, P. Robert. The Twentieth Century. New York: W. W. Norton, 1998.
Rybka, F. James. Bohuslav Martinu: The Compulsion to Compose. Scarecrow Press, 2011.
Šafránek, Miloš. “Bohuslav Martinů.” The Musical Quarterly, Vol. 29, No. 3 (1943):329-354.
Šafránek, Miloš. Bohuslav Martinu - The Man and His Music. Alfred A. Knopf: New York, 1944.
Svatos, D. Thomas. “Reasserting the Centrality of Musical Craft: Martinů and His American Diaries.” The Musical Times, Vol. 150, No. 1907 (2009):50-57.
The New Grove Dictionary of Music and Musicians (2001). S. v. “Martinů, Bohuslav.” by Jan Smaczny.

中文書目:
馬清。《二十世紀歐美音樂風格》。臺北市 : 揚智文化出版，2000年。
劉志明。《西洋音樂史與風格》。臺北市 : 全音樂譜發行，1991年。
萊昂·斯坦因(Leon Stein)。《音樂的結構與風格》。潘皇龍譯。臺北市 : 全音樂譜發行，1985年。
萊昂·戴林(Leon Dollin)。《二十世紀作曲法》。康謳譯。臺北市 : 全音樂譜出版，1982年。

樂譜:
Martinů, Bohuslav. Sonata for Violin & Piano No.3, H.303. New York: Associated Music Publishers, 1950.

有聲資料:
Martinů, Bohuslav. Violin Sonata No. 3, H. 303. Zenaty. Shapiro. Azica Records Azica71307. 2016. Compact disc.

網路資料:
Entwistle, Erik Anthony. “Martinů in Paris: A Synthesis of Musical Styles and Symbols.”MusicWeb international. http://www.musicweb-international.com/classrev/2006/Feb06/Martinu_chapter 2.htm#ixzz4tHdHCk1y. (accessed Sep. 21)
Martinů, Bohuslav. http://www.martinu.cz/en/ (accessed Jun. 28)