許多連續樂章的組合，稱為組曲，其發展與演變源自於對舞形式，在不同時期而有不同的發展。古典組曲的內容以傳統舞曲為主，例如：阿勒曼舞曲、庫朗舞曲、薩拉邦舞曲與吉格舞曲。本篇研究包含三首組曲作品，分別是巴哈的《降B大調鍵盤組曲第一號，作品八二五》、德布西的《貝加馬斯克組曲》與荀白克的《組曲，作品二十五》；先從組曲的定義、起源、發展與演變等方面論述，再來嘗試探討三首組曲中，傳統舞曲的風格與特色，尤其以巴哈與荀白克的作品為探究重點。
巴哈為巴洛克時期組曲作品集大成的作曲家，其作品中傳統舞曲均已高度形式化，且富有特色。巴洛克時期之後，組曲的曲式日趨式微；古典時期，由奏鳴曲取代組曲。浪漫時期，鋼琴音樂的發展雖
由非傳統的舞曲所構成的特性曲為主，仍與組曲本質符合。二十世紀，受到新古典主義的影響，荀白克創作《組曲，作品二十五》，使用組曲形式且仿照傳統舞曲的風格，這也是他第一首以十二音列創作的作品！總而言之，舞曲的風格不會因為不同的時代而有顯著的變化，而是根據不同的作曲家的特殊特色產生極大的差異性。

The suite is made up of many successive movements. It originates from pair dances, developing and evolving during different periods. Standard classic suites consist mainly of traditional dances such as the allemande, courante, sarabande and gigue. This paper closely examines three suites：Partita in B-flat major No.1 Bwv 825 by J. S. Bach, Suite Bergamasque by Debussy and Suite op.25 by Schönberg. At first, focus is on the definition, origin, development and changes of the genre, and then the features of dances in each of the three suites will be fully discussed, especially in the ones by J. S. Bach and Schönberg.
J. S. Bach was one of the greatest composers of suites in the Baroque period. In his works, traditional dances are highly stylized, full of characteristics, as observed in his Partita in B-flat major No.1 Bwv 825. However, the form gradually declined after the Baroque period; until the Romantic period, when the character pieces rise, usually forming a group, which correspond to the nature of the suites. In the Twentieth century, influenced by Neoclassicism, Schönberg composed Suite op.25, which adopts the form of the suite, imitating the style of the traditional dances, while utilizing his twelve-tone technique for the very first time！ To sum up, drastic changes can not be detected in the styles of dances from different periods. It is the distinctive characteristics of different composers that bring about the diversities.

目 錄
組曲的定義……………………………………………………………………2
舞曲在義大利、法國與德國的發展………………………………………..3
巴洛克時期常見的舞曲……………………………………………………..5
巴哈的組曲及《降B大調鍵盤組曲第一號，作品八二五》…………..13
巴洛克時期之後組曲的演變與興衰……………………………………..19
德布西《貝加馬斯克組曲》的創作背景與樂曲內容………………….21
新古典主義的影響…………………………………………………………23
荀白克《組曲，作品二十五》創作背景與風格…………………………24
《組曲，作品二十五》舞曲內容………………………………………….29
結論…………………………………………………………………………..36
參考書目…………………………………………………………………… 39
附表一 十二音列表………………………………………………………..41

參考書目
西文部份
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The New Grove Dictionary of Music and Musicians (1980) S. v. “Suite”&“Partita” by David Fuller, S. v."Prelude" by Howard Ferguson, S. v."Gavote"、"Gigue"、"Minuet"、"Passepied" by Meredith Ellis little, S. v."Courante" by Meredith Ellis little and Suzzanne G. Cusick, S.v. "Saranbande" by Richard Hudson, S.v."Intermezzo" by Maurice J.E.Brown, S.v. "Expressionism"、"Neoclassicism" by Arnold Whittall, S.v. "Schönberg, Arnold" by O.W. Neighbour.

中文部份
林勝儀譯。 《古典名曲欣賞樂聆:鋼琴曲》。台北市:美樂出版社,民國八十六年。
《西洋音樂史-印象派以後》。台北市:天同出版社，民國七十五年。
徐仲秋。　　《偉大作曲家群像-巴哈》。台北市:智庫文化股份有限公司。民國八十四年。
康謳。 《大陸音樂辭典》。台北市：大陸書店。民國七十五年。
Schönberg, Arnold. Klavierstueck. 台北：全音樂譜出版社。