十九世紀末的大提琴不斷地進步發展，大衛•包佩就是處於這樣的環境背景之下，推動著大提琴發展。他是一位大提琴家也是作曲家，除了演奏之外，更是創作許多膾炙人口的大提琴作品，與三本重要的練習曲《作品七十三之四十首練習曲》、《作品七十六之十首練習曲》與《作品七十六之十五首練習曲》。這些作品與練習曲，不僅對於十九世紀末的大提琴演奏造成影響，對於現在的大提琴發展更是重要。因此透過分析包佩的作品與練習曲，並參考各種對於他的練習曲之分析與評論，以徹底了解包佩的重要性，與作品之影響力。
本文內容除了前言與結論外共分成兩個章節，第一章探討包佩的生平與作品風格，內容除了介紹他的作品風格之外，也提到他的作品風格與演奏技巧偏向法比學派。第二章則針對他的三本練習曲，與各獨奏作品之技巧分析，另參考兩種不同的分析版本作比較。最後將列舉不同時代的大提琴作品，並配合包佩的作品七十三作練習，以觀察他的練習曲之適用性。因他的練習曲都標明指法與弓法，因此於分析過程中，藉此了解十九世紀末所常用的指法、弓法與現在有些許的不同。期盼藉由此一研究，能提供大提琴學習者作為選擇練習曲之參考，並提昇包佩於大提琴史上的重要性。

The late nineteenth century is a period when cello saw rapid development. Growing up in this environment, David Popper, a cellist and a composer, dedicated to the prevalence of cello. Besides playing cello, he created many popular cello pieces and etudes Op.73 and Op.76. These works and etudes not only have a great influence on the cello performance in the late nineteenth century but also play a key role in modern cello development. Therefore I will explore the importance of Popper and the influence of his works by analyzing his works and etudes and surveying various analyses of comments on his etudes.
The thesis consists of two chapters, including the introduction and conclusion. The chapter one discusses the biography and the style of his composition. Besides introducing its style, it also mentions that his style and techniques are close to Franco-Belgian school. Chapter two focuses on the analysis of his three etudes and other solo pieces, making a comparison with another two references. In the end, it offers cello works in different periods with Popper’s Op.73 for practice, in order to see the applicability of Popper’s etudes. From analyzing Popper’s works, it shows that fingering and bowing are slightly different between now and the end of the nineteenth century since all of his etudes mark fingering and bowing. It provides references for performer while choosing etudes and raises the status of Popper in the development of cello.

前言……………………………………………………....................1
第一章 包佩的生平與作品風格………………………………....2
第一節 包佩的生平背景……………………………………...2
第二節 包佩的作品概述……………………………………...5
第三節 包佩作品的演奏風格與技巧………………….........12

第二章 包佩對於大提琴技巧上的貢獻……………………….16
第一節 十九世紀到二十世紀初的大提琴練習曲…………16
第二節 包佩的練習曲作品七十三與七十六之技巧分析....20
第三節 包佩的練習曲與其音樂會作品之技巧關係………45
第四節 包佩的練習曲對於十七世紀後半至二十世紀大提琴
作品之影響………………………………………….64

結論………………………………………………………………….82
附錄………………………………………………………………….83
參考書目…………………………………………………………....87

西文書目
Costantakos, Chris A.. Demetrios Constantine Dounis: His Method in Teaching the Violin. New York: Peter Lang Publishing, 1988.

De´ak, S. David Popper. New Jersey: Paganiniana Publications, 1980.

Foster, Angie Richards. “The Cellist's Conversion to Popper Etudes.” American String Teacher (November 2004): 124.

Ginsburg, L. History of the Violoncello. ed. H. R. Axelrod, transl T.Tchistyakova. New Jersey: Paganinia Publications, 1983.

¬¬¬I-Bei, Lin. “Research and Pedagogical Application of Etude No.5 from David Popper's Hohe Schule des Violoncellspiels-Vierzig Etuden, Op.73.” American String Teacher (February 2004): 41-44.

Mantel, Gerhard. Cello Technique. Indiana University Press, 1975.

Markevitch, Dimitry. Cello Story. New Jersey: Summy-Birchard Music division of Summy-Birchard Inc., 1984.

Milligan, Catherine N. “Popper and the High School of Cello Playing: A Study of the Pedagogic Value of the Opus 73 Etudes.” M.M. thesis, University of Queensland, 1993.

Moskovitz, Marc D. “David Popper: An Anniversary Retrospective PartI: His Life and Career.” American String Teacher 44:4(Summer 1994): 55-7.

Moskovitz, Marc D. “David Popper: An Anniversary Retrospective PartII: His Legacy as Performer and Pedagogue.” American String Teacher 44:4(Fall 1994): 35-8.

Pratt, Dorothy Churchill and Bunting, Christopher. Cello Technique from One Note to the Next. New York: Cambridge University Press, 1987.

Rosen, David Simon. Vieuxtemps, Servais, and Popper: Their Music and Influence on the Belgian School of Violoncello(1840-1900). University of Miami Press, 1988.


Stowell, Robin. The Cambridge Companion to the Cello, Cambridge: Cambridge University Press, 1999.

Tunca, Ozan Evrim. Most Commonly Used Etude Books by Cello Teachers in American Colleges and Universities. Florida State University School Press, 2003.

¬¬¬¬¬Tunca, Ozan Evrim. “Popularity Contest: The Most Commonly Used Cello Etude Books in American Colleges and Universities.” American String Teacher (August 2004): 54-57.

Waldn, Valerie. One Hundred years of Violoncello: A History of Technique and Performance Practice, 1740-1840. UK: Cambridge University Press, 1998.

Wasielewski, Wilhelm Jos. von. The Violoncello and Its History. translated by Isobella S. E. Stigand. London: Novello, 1894.

網路資料
I-Bei, Lin. “Pedagogical Reference of David Popper's Hohe Schule des Violoncellspiels-Vierzig Etuden, Op.73. ” Internet Cello Society[organization on-line]; available from http://www.cello.org/Newsletter/Articles/popperetudes.htm; accessed 1995.

Lehnhoff, Charlotte. “The Popper High School of Cello Playing.” Internet Cello Society[organization on-line]; available from
http://www.cello.org/Newsletter/Articles/poppercl.htm; accessed 1995.

Roedder, Alexandra. “The Violoncello and the Romantic Era: 1820-1920.” Internet [organization on-line]; available from
http://thepathahead.net/music/learn/thesis-html/2cellists.html; accessed 28 February 1995.

Slavich, Richard. “A Player’s Guide to the Popper Etudes.” Internet Cello Society[organization on-line]; available from
http://209.210.69.204/Newsletter/Articles/popper.htm; accessed 30 January 2002.