史克里亞賓（Alexander Scriabin, 1872-1915）為俄羅斯最具代表的作曲家之一，早期音樂仍受蕭邦（Frédéric Chopin, 1810-1849）影響甚深，至後期結合來自哲學、宗教、文學等不同層面的靈感啟發，因而建立起獨樹一格的音樂風格。史克里亞賓一生不斷探索新的音樂表現手法，像是摒棄傳統調性系統、追求神秘主義的音樂理念、結合音樂與色彩等，對於二十世紀音樂有著極大的貢獻。史克里亞賓的創作以鋼琴音樂廣為人知，其中的十首鋼琴奏鳴曲，為史克里亞賓一生風格轉變的縮影，而《第五號鋼琴奏鳴曲》（Piano Sonata No.5, Op.53）無論在樂章數、調性運用、或創作理念等皆有顯著的轉變，為承先啟後的重要經典作品。
本文探討的內容除前言與結論之外，共分為四個部分論述，第一部分介紹史克里亞賓生平與背景；第二部份依據學者史柔哲（Boris de Schloezer, 1881-1961）將史克里亞賓音樂依風格分為三個時期之論述，探討各時期音樂風格特色之演變；第三部分概述史克里亞賓十首鋼琴奏鳴曲之創作特色，包括和聲語彙與旋律素材之獨特性等；第四部份將以《第五號鋼琴奏鳴曲》為研究主軸，探討其創作背景，並藉由分析此曲素材運用與曲式結構，更進一步地探索史克里亞賓神秘的內心世界。

Alexander Scriabin (1872-1915) is one of the most representative Russian composers, whose early Chopin (1810-1849) influence and late spiritual inspiration from Philosophy, Religion, and Literature led him to create the unique musical language. During his life time, Scriabin contributed the twentieth century musical world with constantly experimenting on different compositional techniques, such as abandoning the traditional tonal system, and transcending Mysticism and Synesthesia into his music. Among Scriabin's well-known piano works, the Ten Piano Sonatas contain completely the stylistic evolution in his entire compositional life. The turning-point work Piano Sonata No.5, Op.53 of Scriabin, including the use of one-movement formal structure, tonal-center concept, and the mystic chord, clearly shows his decisive mind of departure from traditional past.
There are four main chapters besides the preface and conclusion in this research. The first chapter introduces Scriabin's life and musical training background; the second chapter provides the characteristic overview of Scriabin's three compositional periods, based on the theoretical view from Boris de Schloezer(1881-1961); the third chapter is a survey of Scriabin’s ten piano sonatas’ compositional features, including the unique employment of harmonic language, and melodic materials in each sonata. The final chapter focuses on the formal analysis of Scriabin’s Piano Sonata No.5, Op.53. By investigating the historical background and the features of motivic materials and formal structures, hopefully we may get closer to the inside world of mystic Scriabin.

中文摘要……………………………………………………………………………….i
英文摘要………………………………………………………………………………ii
表格目錄……………………………………………………………………………...iv
譜例目錄…………………………………………………………………………….. .v
附錄目錄……………………………………………………………………………...ix
前言……………………………………………………………………………………1
第一章 史克里亞賓之生平背景……………………………………………………..4
第二章 史克里亞賓之創作風格分期………………………………………………..9
第三章 史克里亞賓十首鋼琴奏鳴曲之特色概述………………………………….16
第四章 史克里亞賓第五號鋼琴奏鳴曲之樂曲分析……………………………….31
結論…………………………………………………………………………………..58
參考書目……………………………………………………………………………..60
附錄…………………………………………………………………………………..62

外文書籍
Anderson, Richard Paul. The Pianist’s Craft: Mastering the Works of Great Composers. Lanham: Scarecrow Press, 2011.
Baker, James M. The Music of Alexander Scriabin. New Haven: Yale University Press, 1986.
Barnes, Christopher. The Russian Piano School: Russian Pianists and Moscow Conservatoire Professors on the Art of the Piano. London: Kahn&Averill, 2007.
Bowers, Faubion. Scriabin, a Biography. New York: Dover Pub., 1996.
Burge, David. Twentieth-Century Piano Music. New York: Schirmer Books, 1990.
Schloezer, Boris De. Scriabin: Artist and Mystic. Trans. Nicolas Slonimsky. Los Angeles: University of California Press, 1987.

外文期刊
Ballard, Liocoln M. “A Russian Mystic in the Age of Aquarius: The U.S. Revival of Alexander Scriabin in the 1960s.” American Music 30, No.2 (2012): 194-227.
Garcia,Susanna. “Scriabin’s Symbolist Plot Archetype in the Late Piano Sonatas.” 19th-Century Music 23, No.3 (2000): 273-300.
Hull, A. Eaglefield and Scriabin, Alexander. “A Survey of the Pianoforte Works of Scriabin.” The Musical Quarterly 2, No.4 (1916): 601-614.
Hull, A. Eaglefield. “The Pianoforte Sonatas of Scriabin.” The Musical Times 57, No.885 (1916): 492-495.
Hull, A. Eaglefield. “The Pianoforte Sonatas of Scriabin (continues).” The Musical Times 57, No.886 (1916): 539-542.
Siepmann, Jeremy. “With Bells in Clouds.” International Piano 18 (Mar/Apr. 2013): 57-61.
Wai-Ling, Cheong. “Scriabin’s Octatonic Sonata.” Journal of the Royal Musical Association 121, No.2 (1996): 206-228.

電子期刊
Zydek, Steven. “The Harmonic and Melodic Language in Alexander Scriabin’s Sonata No.5, Op.53.” (2010),http://zh.scribd.com/doc/51063239/The-Harmonic -Language-in-Alexander-Scriabin-s-Sonata-No-5-Op-53.


國外論文
Barany-Schlauch, Elizabeth Anna. “Alexander Scriabin’s Ten Piano Sonatas: Their Philosophical Meaning and Its Musical Expression.” D.M.A.diss., The Ohio State University, 1985.
Yunek, Jeffrey. “Scriabin’s Transpositional Wills: A Diachronic Approach to Alexander Scriabin’s Late Piano Miniatures (1910-1915).” PhD diss., Louisiana State University, 2013.

中文期刊
任真慧。〈探討史克里亞賓的音樂理念與實踐－以鋼琴作品為例〉。《關渡音樂學刊》1 (2004年12月): 153-176。
吳雅婷。〈斯克里亞賓鋼琴音樂探索〉。《臺中師院學報》19，1(2005年): 213-242。

中文書籍
許麗雯。《你不可不知道的100首鋼琴曲與器樂曲》。台北：高談文化，2005年。
焦元溥。《遊藝黑白: 世界鋼琴家訪問錄，上冊》。台北：聯經出版社，2007年。

國內論文
謝舒雅。〈史克里亞賓《鋼琴前奏曲》作品十一之研究〉。台灣：國立中山大學音樂研究所，2004。
侯天玉。〈斯克里亞賓《第二號、第四號、第八號鋼琴奏鳴曲》之風格及詮釋探討〉。台灣：國立台灣師範大學音樂學系碩士班演奏唱組詮釋報告，2010。
江宇婷。〈史克里亞賓鋼琴奏鳴曲作品五十三之研究〉。台灣：東海大學音樂學系碩士班曲目研究報告，2010。
李采穎。〈史克里亞賓《第五號鋼琴奏鳴曲，作品五十三》分析與詮釋〉。台灣：國立台北藝術大學音樂學系碩士論文，2007。

樂譜
Scriabin, Alexander. “Piano Sonata No.5, Op.53.” Leipzig: Peters Edition, 1971.