十九世紀是特性小品盛行的時期，蕭邦為此時期重要作曲家之一，其作品中的《前奏曲》即為特性小品，本論文主要研究蕭邦《前奏曲》作品二十八之創作背景、創作手法與演奏詮釋。全文的內容除了序論之外，總共分為四個章節與附錄，第一章探討相關歷史背景，包括前奏曲的定義與發展，以及蕭邦創作此《前奏曲》之相關背景，第二章探討基本創作手法與音樂風格，第三章討論演奏的詮釋方式，第四章將先前研究的結果作最後的整理歸納。
「前奏曲」從十六世紀的不附屬前奏曲開始萌芽，持續發展至巴洛克時期都仍有寫作，但此時期是以附屬前奏曲為主要形式，至浪漫時期才確立了獨立前奏曲的架構。蕭邦《前奏曲》作品二十八寫作於一八三六至一八三九年間，這二十四首前奏曲包含了各種不同長度、織度、風格、與多種作曲技巧於其中，調性是以不同的二十四個關係大小調作五度循環的排列，文中將其音樂風格歸納為練習曲、夜曲、馬厝卡舞曲、送葬進行曲、詼諧曲、常動曲、歌謠體、幻想曲與即興曲等類型。本文以力度、裝飾音、樂句、踏板與彈性速度等五個層面來探討演奏詮釋，並列舉希金斯、愛吉丁格、杜恩等多位學者之論點來瞭解適當之詮釋方式。蕭邦《前奏曲》作品二十八奠定獨立前奏曲的模式，影響後期浪漫乃至近代樂派的作曲家，因此蕭邦對於前奏曲的發展史而言，可說是具有承先啟後的地位。

Character pieces prevailed in the 19th century. Chopin was one of the most important composers during the period. Preludes Opus 28 of Chopin is characteristic of 19th century style. This thesis is concentrated on the historical background, the composition techniques, and the interpretation of Frédéric Chopin’s Preludes Op. 28. Other then introduction, this thesis is divided into four chapters and an appendix. The first chapter tries to make a survey of the historical background of preludes, including the definition and the development, then the historical background of F. Chopin Preludes, Op. 28. The second chapter discusses the composition techniques and musical styles. The third chapter goes into the performance practice. The fourth chapter sums up the results of the study.
Preludes originated from the unattached prelude of the 16th century, then evolved into the Baroque period which the main type in this period was the attached prelude. The type of independent prelude was lately established in the Romantic era. Chopin worked on these 24 preludes sporadically between 1836 and 1839. Each piece varies in length, texture and style. Chopin used varied composition techniques within them. The tonal plan pairs each major key with its relative minor key through the circle of fifths. The style of preludes can categorize into etude, nocturne, mazurka, funeral march, scherzo, perpetuum mobile, songlike, fantasy, and impromptu etc. The performance practice issues such as dynamics, ornamentation, phrasing, pedal, and tempo rubato are discussed. The opinions of scholars, such as T. Higgins, J. Eigeldinger and J. P. Dunn, are represented to help appropriate interpretation. To sum up, Chopin established the prelude as an independent character piece, he also influenced composers of late Romantic era and early 20th century. Therefore, the important contribution of Chopin to the development of preludes is not replaceable.

序論 2

第一章 前奏曲相關歷史背景之探討 7
第一節 前奏曲的定義 7
第二節 前奏曲的發展 12
第三節 蕭邦前奏曲之創作背景 20

第二章 創作手法與風格之探討 25
第一節 學者對蕭邦前奏曲的特性與風格之看法 25
第二節 二十四首前奏曲基本創作手法 28
第三節 二十四首前奏曲之音樂風格 43

第三章 演奏詮釋之探討 52
第一節 力度 52
第二節 裝飾音 59
第三節 樂句 68
第四節 踏板 75
第五節 彈性速度 82

第四章 結論 86

附錄：當代鋼琴家演奏蕭邦《前奏曲》作品二十八之演奏時間表 90


參考書目 92

參考書目

中文書目

李斯特著。張澤民等譯。《李斯特論蕭邦》。台北：世界文物出版社，民國八十二年。
劉志明著。《西洋音樂與風格》。台北：全音樂譜出版社，民國八十二年。
Henryk Opienski編。潘保基譯。《蕭邦書信集(上)、(下)》。台北：世界文物出版社，民國八十四年。


外文書目

Abraham, Gerald. Chopin’s Musical Style. Westport Greenwood Press,1980.
Bacon, Ernst. Notes on the Piano. London: University of Washington Press, 1981.
Brown, Maurice J. E. Chopin: An Index of His Works. New York: Da Capo Press, 1972.
Chopin, Frédéric Chopin’s Letters. Trans. by E. L. Voynich. New York: Dover Publications, 1988.
Cortot, Alfred. In Search of Chopin. Republic of Ireland: Cahill & Co., 1951.
Dunn, John Petrie. Ornamentation in the Works of Frédérick Chopin. New York: Da Capo Press, 1971.
Eigeldinger, Jean-Jacques. Chopin: Pianist and Teacher. Trans. by Naomi Shohet. Cambridge:Cambridge University Press, 1986.
Ellis, Katharine. Music Criticism in Nineteenth-Century France. Cambridge: Cambridge University Press, 1995.
Ferguson, Howard. Keyboard Interpretation from the 14th to the 19th Century. New York: Oxford University Press, 1975.
Ferri, John P. Performance Indications and the Analysis of Chopin’s Music. Ph.D. diss., Yale University, 1996.
Gide, Andre. Notes on Chopin. New York: Philosophical Library, 1949.
Gillespie, John. Five Centuries of Keyboard Music. New York: Dover Publications, 1965.
Hedley, Arthur. Chopin. London: J. M. Dent and Sons Ltd, 1949.
Higgins, Thomas. Chopin Interpretation: A Study of Performance Directions in Selected Autographs and Other Sources. Iowa: University of Iowa, 1966.
----------. Frédéric Chopin: Preludes, Opus 28. New York: W. W. Norton＆Company, 1973.
Hipkins, Edith J. How Chopin Played. London: J. M. Dent and Sons Ltd, 1937.
Holland, Jeanne. Chopin’s Teaching and His Students. University of North Carolina, 1973.
Huneker, James. Chopin: The man and His Music. New York: Dover Publications, 1966.
Jonson, G. C. Ashton. A Handbook to Chopin’s Works. London: William Reeves, 1908.
Kallberg, Jeffrey. Chopin at the Boundaries: Sex, History, and Musical Genre. Cambridge: Harvard University Press, 1996.
Kang, Yunjoo. The Chopin Prelude Opus 28: An Eclectic Analysis with Performance Guide. D.A. diss., New York University, 1994.
Kirby, F. E. Music for Piano. Portland: Amadeus Press, 1995.
Kramer, Lawrence. “Romantic Meaning in Chopin’s Prelude in A Minor.” 19th Century Music, Vol. Ⅳ, no. 3 (Spring, 1981.) : 145-155.
Kresky, Jeffrey. A Reader’s Guide to the Chopin Preludes. Westport: Greenwook Press, 1994.
Lin, Ling-Mei. Collections of Piano Preludes in the Classic and Early Romantic Eras. D.M.A. diss., The University of North Carolina at Greensboro, 1997.
Lopinski, Janet Marie. The“Preludes”Opus 28 by Fryderyk Chopin with Emphasis on Polish Sources. D.M.A. diss., University of Cincinnati, 1992.
Methuen-Campbell, James. Chopin Playing: From the Composer to the Present Day. London: Victor Gollancz Ltd, 1981.
Mongrédien, Jean. Frence Music from the Enlightenment to Romanticism 1789-1830. Trans. by Sylvain Frémaux. Portland: Amadeus Press, 1986.
Murdoch, William. Chopin: His Life. Westport: Greenwook Press,1971.
Orga, Ates. The Illustrated Lives of the Great Composer:Chopin. New York: Omnibus Press, 1976.
Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth-Century Europe. New York: W. W. Norton＆Company, 1984.
Porte, John F. Chopin the Composer and His Music. London: The New Temple Press,
Randel, Don Michael, ed. The New Harvard Dictionary of Music. London: Harvard University Press, 1986.
Ringer, Alexander. The Early Romantic Era. London: The Macmillan Press, 1990.
Ripoll, Luis. Chopin’s Winter in Majorca 1838-1839. Trans. by Alan Sillitoe. Spain: Imprenta Mossen Alcover, 1961.
Rogers, Michael R. “Chopin, Prelude in A Minor, Op. 28, No. 2” 19th Century Music, Vol. Ⅸ, no. 2 (Fall, 1985.) : 244-251.
Samson, Jim. The Cambridge Companion to Chopin. Great Britain: Cambridge University Press, 1992.
----------. Chopin Studies. Cambridge:Cambridge University Press, 1988.
----------. Chopin Studies 2. Cambridge:Cambridge University Press, 1994.
----------. The Music of Chopin. Oxford: Clarendon Press, 1994.
Schachter, Carl. “Chopin’s Prelude in D Major, Opus 28, No. 5: Analysis and Performance” Journal of Music Theory Pedagogy, Vol. Ⅷ, (1994.) : 27-45.
Schumann, Robert. On Music and Musicians. Los Angeles: University of California Press, 1946.
Siepmann, Jeremy. Chopin: The Reluctant Romantic. Boston: Northeastern University Press, 1995.
Todd, R. Larry. Nineteenth-Century Piano Music. New York: Schirmer Books, 1990.
Walker, Alan. Frédéric Chopin: Profiles of the Man and the Musician. New York: W. W. Norton＆Company, 1966.
The New Grove Dictionary of Music and Musicians (1980). S.v. “Prelude.”by Howard Ferguson, S.v.“Chopin, Fryderyk Franciszek.”by Nicholas Temperley.



樂譜

Paderewski, I. J., ed. Chopin: Préludes. Cracow: The Fryderyk Chopin Institute Polish Music Publications, 1979.
Zimmermann, Ewald, ed. Chopin: Préludes. München: G. Henle Verlag, 1979.