古典時期的彌撒曲，受到交響曲的影響，加入了許多器樂曲的形式與元素。十八世紀後期，啟蒙時代追求自由理性的風潮，以及奧地利的宗教改革，對於當時維也納的宗教音樂發展有著深刻的影響。海頓身為古典樂派的巨擘，他的宗教音樂雖然不若他的器樂曲受到世人注目，然而他的晚期宗教作品，包括六首彌撒曲與兩闕備受景仰的神劇，仍然被視為古典樂派宗教音樂的典範。
《尼爾遜彌撒曲》是海頓六首晚期彌撒曲中的一首，與其他五首晚期彌撒曲具有一致的結構和歌詞處置模式，除此之外，《尼爾遜彌撒曲》具有相當獨特的調性、器樂編制、和音樂表現力。其中不僅表現出海頓融合各類型風格的高超手法，也流露出海頓追求自由開放與個人風格的一面。
本論文的研究主題可分為三大方向。首先著重於音樂史方面的探討，由古典時期的教堂音樂發展及奧地利之宗教改革的影響談起，延伸到海頓與宗教音樂的接觸以及其彌撒曲創作之風格演進歷程，再進一步討論《尼爾遜彌撒曲》本身的創作背景。其次則是針對《尼爾遜彌撒曲》進行創作手法分析，並討論其中的歌詞配置。最後由演奏法的觀點切入，就合唱團編制、速度、力度、分句、抑揚、音色、與表現力各方面，探討演出時所應注意的層面。結論提出《尼爾遜彌撒曲》的創作特色，並以此說明海頓晚期彌撒曲身為時代典範所具有的承先啟後意義。

The mass in Classical period was greatly influenced by symphonic style, especially by the form and the instrumental elements. The Enlightenment and the Religious Reformation in Austria also deeply affected the composer’s attitude toward composing mass movements in late 18th century. Haydn was recognized as the master at that time. His late sacred works include six masses and the two remarkable oratorios. Though they may not be as famous as his great symphonies and instrumental works, these works are regarded as the climax of church music in Classical period. Haydn’s late masses all share the common structure and text settings, and Lord Nelson Mass is one of them. However, it is quite unique in its D minor key, orchestration, and music expression. It not only shows the refined skill of Haydn, but also reveals his yearning for freedom, unconventional expression, and personal style.
This thesis consists of five chapters. The first one is the introduction. The second chapter is about the background and the style of Haydn’s six late masses, particularly focusing on Lord Nelson Mass. The third chapter displays thorough analysis of each movement of Lord Nelson Mass. The fourth chapter presents the discussion about the performance practice of Classical period in choir size, tempo, dynamic, phrasing, articulation, tone quality, and expression, which should be taken into consideration when performing Lord Nelson Mass. The final chapter draws conclusions from the study.

目錄 1
譜例目錄 2
圖表目錄 4
第一章 序論 5
第二章 《尼爾遜彌撒曲》的時代風格與創作背景 8
第一節 古典時期的教堂音樂發展 8
第二節 十八世紀後期的維也納與奧地利之宗教改革 10
第三節 海頓與宗教音樂的關聯和他的早期彌撒曲 12
第四節 海頓後期彌撒曲之風格討論 17
第五節 《尼爾遜彌撒曲》之創作背景 23
第三章 《尼爾遜彌撒曲》創作手法分析 30
第一節 〈垂憐經〉 31
第二節 〈榮耀經〉 38
第三節 〈信經〉 46
第四節 〈聖哉經〉 57
第五節 〈羔羊經〉 66
第六節 歌詞配置 71
第四章 由演奏法觀點探討《尼爾遜彌撒曲》 75
第一節 合唱團編制 75
第二節 速度 79
第三章 力度 84
第四節 分句與抑揚 86
第五節 音色與表現力 88
第五章 結論 91
附錄 彌撒曲歌詞原文及中文翻譯 96
參考書目 99

Bach, C. P. E. Essay on the True Art of Playing Keyboard Instrument. Trans. William J. Mitchell. New York : W. W. Norton, 1949.
Brown, A. Peter, in collaboration with Brown, Carol Vanderbilt. “Joseph Haydn in Literature: A Survey.” Notes 31 (1974-75): 530-47.
Burney, Charles. The Present State of Music in Germany, the Netherlands and United Provinces. 2Vols. New York: Broude Bros., 1969.
Chusid, Martin. “Some Observations on Liturgy, Text and Structure in Haydn’s Late Masses.” In Studies in Eighteenth-Century Music. Eds. Robbins Landon and Roger Chapman, 125- 135. New York: Oxford University Press, 1970
Downs, Philip G. Classical Music: The Era of Haydn, Mozart, and Beethoven. New York: Norton, 1992.
Drablin, William. Beethoven: Missa solemnis. Cambridge: Cambridge University Press, 1991.
Garretson, Robert L. Choral Music: History, Style, and Performance Practice. Englewood Cliffs: Prentice-Hall, 1993.
Geiringer, Karl. Haydn: A Creative Life. Berkeley: University of California Press, 1982.
Grave, Floyd and Margaret Grave. Franz Joseph Haydn: A Guide to Research. New York & London: Garland Publishing, Inc., 1990.
Haydn Joseph. Missa in Angustiis. Vocal Score by D. MacCaldin. Oxford and New York: Oxford University Press, 1996.
Johnson, Eric A. “Fanz Joseph Haydn’s Late Masses: An Examination of the Symphonic Mass Form.” Choral Journal 42（2002）: 19-24.
Joseph Haydn Werk., Reihe XXIII. Band 3, Messen Nr 9-10. München: Duisburg, 1965.
Landon, Robbins. Essays on the Viennese Classical Style: Gluck, Haydn, Mozart, Beethoven. New York: The Macmillan Company, 1970.
_______. Ed. Haydn: The Year of the ‘Creation’. Vol. 4 of Haydn: Chronicle and Works. London: Thames and Hudson, 1977.
Larsen, Jens Peter. A New Grove Haydn. London : Papermac, 1982.
_______. Handel, Haydn, and the Viennese Classical Style. Ann Arbor: University Microfilms, 1988.
_______. Howard Serwer, and James Webster, eds. Haydn Studies: Proceedings of the International Haydn Conference, Washington, D.C., 1975. New York : Norton, 1981.
MacIntyre, Bruce. “Viennese Common Practice in the Early Masses of Joseph Haydn”. International Joseph Haydn Congress. Ed. Eva Badura-Skoda. München: G. Henle, 1986.
McGrann, J. W. “Of Saints, Name Days, and Turks: Some Background on Haydn’s Masses Written for Prince Nicolaus II Esterhazy.” Journal of Musicological Research 17, no. 3 (1998) 195-210.
Nafziger, Kenneth. The Masses of Haydn and Schubert: A Study in the Rise of Romanticism. Ph. D. diss., University of Oregon, 1970.
Neumann, Frederick. New Essays on Performance Practic. Rochester: University of Rochester Press, 1992.
The New Grove Dictionary of Music and Musicians (2001). S. V. “Mass: III. 1600–2000,” by Denis Arnold and John Harper.
_______. S. V. “Sturm und Drang,” by Daniel Heartz and Bruce A. Brown.
_______. S. V. “Vienna,” by Theophil Antonicek and Derek Beeales.
Olleson, Edward. “Church Music and Oratorio.” In The Age of Enlightenment, 1745-1800. New Oxford History of Music. Vol.7. Ed. Egon Wellexz and Frederick Sternfeld. London: Oxford University Press, 1973.
_______. “Georg August Griesinger’s Correspondence with Breitkopf and Härtel.” The Haydn Yearbook 3(1965): 38-51.
Pauly, Reinhard G. “The Reforms of Church Music under Joseph II.” The Musical Quarterly 43 (1957): 378-82.
_______. Music in the Classic Period. London: Prentice Hall, 1988.
Quantz, J. J. On Playing the Flute. Trans, Edward R. Reilly. New York : Schirmer Books, 1985.
Ratner, Leonard. Classic Music Expression, Form and Style. New York: Schirmer books, 1980.
Rice, John A. “Vienna under Joseph II and Leopold II.” The Classical Era : from the 1740s to the End of the 18th Century. Ed. Neal Zaslaw. London: Macmillan, 1989.
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: Norton, 1997.
Schenbeck, Lawrence. “Missa in Angustiis by Joseph Haydn.” The Choral Journal 25, no.9 (May 1985): 19-30.
_______. Joseph Haydn and the Classical Choral Tradition. Chapel Hill: Hinshaw Music, 1996.
Shrock, Dennis. “Aspects of Performance Practice During the Classic Era.” In Five Century of Choral Music: Essays in Honor of Howard Swan. Ed. Gordon Paine, 281-322. New York: Pendragon Press, 1988.
Smither, Howard E. A History of Oratorio. Vol. 3. Chapel Hill: The University of North Carolina Press, 1987.
Temperley, Nicholas. Haydn: The Creation. Cambridge: Cambridge University Press, 1991.
Türk, D. G. School of Clavier Playing, or, Instructions in Playing the Clavier for Teachers & Students. Trans. Raymond H. Haggh. Lincoln : University of Nebraska Press, 1982.
Ulrich, Homer. A Survey of Choral Music. New York: Harcourt Brace Jovanovich Publishers, 1973.
Webster, James. “Haydn’s Sacred Vocal Music and the Aesthetics of Salvation.” Haydn Studies. Ed. Sutcliffe W. Dean, 35-69. Cambridge: Cambridge University Press, 1998.
_______. “The Creation, Haydn’s Later Vocal Music, and the Musical Sublime.” Haydn and His World. Ed. Elaine Sisman, 57-102. Princeton: Princeton University Press, 1997.
Zaslaw, Neal. The Classical Era : From the 1740s to the End of the 18th Century. London : Macmillan, 1989.
李振邦。《宗教音樂》台北：天主教教務協進會出版社，1979年。
吳祖強。《曲式與作品分析》台北：世界文物出版社，1994年。
國立編譯館 編訂。《音樂名詞》台北：桂冠圖書股份有限公司，1993年。