小步舞曲源自法國的普瓦圖地區，一六六〇年間進入法國宮廷舞曲後，小步舞曲於十七世紀晚期進入器樂組曲，很常被放置在薩拉邦德舞曲與吉格舞曲之間，到了古典時期作曲家也經常將其置入奏鳴曲中。在海頓的鍵盤奏鳴曲中，與小步舞曲相關的樂章共包含了四十三首，此研究主要為探討海頓鍵盤奏鳴曲中的小步舞曲樂章，內容分為小步舞曲的歷史沿革、海頓鍵盤奏鳴曲中的小步舞曲樂章之分析、與結論三個部分。海頓這四十三首與小步舞曲相關的作品，大多數仍維持著傳統巴洛克小步舞曲的風格，如整體的架構多為複合式三段體、調性的關係以平行調為主、或在旋律素材的使用上，以三連音與附點節奏作為主體等手法；到了第三時期，則開始出現變奏曲的架構呈現小步舞曲，甚至第五時期，更出現了帶有詼諧曲風格的小步舞曲樂章，從這些方面可以推測海頓已逐漸想跳脫既有的傳統小步舞曲框架，透過曲式、調性等方面的歸納與分析，深入了解海頓從第一時期至第五時期，其小步舞曲樂章的創作方式以及風格上的變化。

The minuet was originated in Poitou, France. Around 1660s, the minuet became part of instrumental suites, and usually placed between Sarabande and Gigue in the late 17th century. Moreover, the composers in Classical period often used minuet as one of the movement in sonata. Among the Piano Sonatas of Haydn, 43 movements are related to the minuet. This study is going to analyse the minuet movements in the Haydn’s keyboard sonatas. This study is divided into three parts: the development of the Minuet, the Analysis of Minuet Movements in Haydn’s Keyboard Sonatas and the Conclusion. These 43 minuet-movement-related compositions maintained their traditional Baroque style, for example, most of their structures are composite three-part form, and their tonality possesses the characters of parallel key, and their melody uses triplet and dotted rhythm as the main features. To Haydn’s Third Period, there were variations demonstrating the minuet movement, even his Fifth Period, the minuet movement became more like the scherzo. From all these aspects, we assume that Haydn already wanted to expand the framework of traditional minuet movement. Hopefully, through this research will help the understanding the spirit of Haydn’s Minuets.

前言 …………………………………………1
第一章 小步舞曲之起源與發展 ……………3
第二章 海頓鍵盤奏鳴曲中的小步舞曲……8
第一節 海頓標示小步舞曲之樂章…………9
第二節 速度術語標示小步舞曲之樂章……36
第三節 開頭與速度術語皆無標示之樂章…44
第三章 結語…………………………………55
參考書目……………………………………57
附錄…………………………………………59

一、外文部分
Brown, A. Peter Joseph Haydn's Keyboard Music: Sources and Style. Bloomington: Indiana University Press, 1986.
Caplin, W. E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998.
Downs, Philip G. Classical Music: the Era of Haydn, Mozart, and Beethoven. New York: Norton, 1992.
Geiringer, Karl. Joseph Haydn and the Eighteenth Century. Warren, Mich.: Harmonie Park Press, 2002.
Harrison, Bernard. Haydn's Keyboard Music: Studies in Performance Practice. New York: Oxford University Press, 1997.
Heartz, Daniel. Mozart, Haydn and early Beethoven, 1781-1802. New York: W. W. Norton, c2009.
Larsen, Jens Peter The New Grove Haydn. London: Papermac, 1982.
Nettl, Paul. The Story of Dance Music. New York: Philosophical Library, Inc., 1947.
Nettl, Paul. The Dance in Classical Music. New York: Philosophical Library, Inc., 1964.
Malloch, William.“The Minuets of Haydn and Mozart: Goblins or Elephants?” Early Music 21, No. 3 (Aug., 1993): 437-444.
McCabe, John. Haydn Piano Sonatas. London: Ariel Music, 1986.
Meredith Ellis Little. The New Grove Dictionary of Music and Musicians (2001). S. v. "Minuet".
Rosen, Charles. The Classical Style-Haydn, Mozart, Beethoven. New York: W. W. Norton and Company Inc., 1997.
Somfai, László. The Keyboard Sonatas of Joseph Haydn: Instruments and Performance Practice, Genres and Styles. Chicago: University of Chicago Press, 1995.
Sachs, Curt. World History of Dance. New York: W. W. Norton & Company, 1963.
Spring, Glenn & Hutcheson, Jere. Musical Form and Analysis. U. S. A.: Wm. C. Brown Communications, 1995.
W. Dean Sutcliffe, ed. Haydn Studies. New York: Cambridge University Press, 1998.

二、中文部分
麥卡比˙約翰（McCabe, John）。《海頓鋼琴奏鳴曲》，王恩冕譯。臺北市：世界文物，1996年。
林正枝。《海頓鋼琴奏鳴曲研究》。臺北市：樂韻出版社，1992年。
吳祖強。《曲式與作品分析》。臺北市：世界文物，1994年。
胡小萍。《巴赫鍵盤舞曲-歷史、形式、風格、演奏之探究》。台北：小雅音樂有限公司，2002年。

三、樂譜
Haydn, Joseph. Piano Sonatas Volume I & II & III. München: G. Henle Verlag, 2009.