十八世紀末莫札特首次在鋼琴協奏曲的第三樂章中以變奏曲型態寫作，增添變化性及技巧性。浪漫時期之變奏曲雖是獨奏的型態卻有交響化的概念，顯見開始有將變奏曲加入樂團聲響的想法，但到了十九世紀末才有作曲家將變奏曲與協奏曲結合在一起。本文探討的作曲家查理士․史丹佛( Charles Stanford, 1852-1924 )在一八九七到一八九八年間創作了《給鋼琴和樂團的音樂會變奏曲，作品七十一》(Concert Variations for Piano and Orchestra, Op. 71 )。
　　本文共分三大部分，第一部分為協奏曲中的變奏樂章，內容探討從協奏曲中的變奏樂章至十九世紀獨奏變奏曲的交響聲響至二十世紀產生單樂章的變奏協奏曲。第二部分探討史丹佛生平、音樂特色及風格。第三部分為本文主軸，探討《給鋼琴和樂團的音樂會變奏曲，作品七十一》此作品，內容針對三個重點，包括(一)史丹佛著作《音樂寫作–一篇給學生的短論文》( Musical Composition–A Short Treatise for Students )中對於創作變奏曲的想法，(二)探討此作品的主題來源，(三)分析此作品的變奏手法及獨奏技巧的運用。希望藉由對此作品的研究能使演奏者對於史丹佛有更進一步的了解，並對於協奏變奏曲有進一步的認識。

W. A Mozart used variation forms in piano concerto’s third movement to raise the possibilities of concerto’s variety and technique. This was the first time that the variations in concertos applied in music history. In the late 18th century for the first time. In the Romantic period , even though composers only wrote solo variations, they placed a symphonic idea into the music. Until late 19th century, for the first time. Irish composer- Charles Stanford( 1852-1924 ) composed single movement’s concert variations and call the piece Concert Variations for Piano and Orchestra, Op. 71.
　　This research consists of three parts. Part one discusses how the variations use in piano concerto of Mozart, and the development of concert variation in the late 18th century to early 20th century. Second part discusses Charles Stanford’s life and his music style. Part three emphasize on three points– (1) In the thesis of Stanford– Musical Composition–A Short Treatise for Students, he gave the ideas of writing variations. (2) The original and development of this variation’s theme is explored. (3) The variation technique Stanford applied in this work and its virtuostic technique. The purpose of this research is to provide Stanford’s musical style and performers information for understanding the concert variations.

論文審定書……………………………………………………… i
中文摘要………………………………………………………… ii
英文摘要………………………………………..……………….. iii
前言.........................................................................................................1
鋼琴協奏曲中的變奏曲………………………………………………………………………3
查理士․史丹佛生平…………………………………………………..17
生平……………………………………………………………17
音樂特色………………………………………………………19
《給鋼琴和樂團的音樂會變奏曲，作品七十一》之探討……………..21
史丹佛創作變奏曲之背景及理論……………………………..21
主題素材之來源………………………………………………..24
《給鋼琴和樂團的音樂會變奏曲，作品七十一》的分析及討論……31

參考文獻……………………………………………………….…… 65
附錄………………………………………………………………….. 66

西文書目
Ellsworth , Therese and Wollenberg, Susan, ed. The piano in nineteenth-century British Culture : instruments, performers and repertoire. Aldershot, Hampshire, England ; Burlington, VT : Ashgate, 2007.
F. Dunhill, Thomas. “Charles Villiers Stanford: Some Aspects of His Work and Influence” Proceedings of the Royal Musical Association , 53rd Sess. ( 1926-1927 ) : 41-65
Howells , Herbert. ” Charles Villiers Stanford (1852-1924). An Address at His Centenary” Proceedings of the Royal Musical Association , 79th Sess. ( 1952-1953 ) : 19-31
Lang, Paul Henry, ed. The Concerto : 1800-1900. New York: W. W. Norton, 1969.
Roeder, Michael Thomas. A History of the Concerto. Oregon: Amadeus Press, 1994.
Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London：Macmillan Publishers, 1980.
Stanford, Charles. “ The Work and Influence of Charles Villiers Stanford ”
The Musical Times, Vol. 68, No. 1009 (Mar. 1, 1927): 258-259
¬¬______. “ Music of the Nineteenth Century ” Time Literary Supplement, ( Dec. 22, 1905)
______. Musical Composition–A Short Treatise for Students. . New York:The Macmillan Company, Inc., 1911
Todd, R. Larry. Nineteenth-Centuries Piano Music. New York: Schirmer Books, 1900.
Trevor, Hold. Parry to Finzi : Twenty English Song-composers. Woodbridge, Suffolk, UK : Boydell Press, 2005.
樂譜
John Playford 《The Dancing Master》
Charles Stanford. 《Concert Variations for Pianoforte and Orchestra, Op.71》
網路
http://www.izaak.unh.edu/nhltmd/indexes/dancingmaster/