《鋼琴奏鳴曲，作品一》(Piano Sonata, Op.1) 為阿班貝爾格 (Alban Berg, 1885-1935) 在一九Ο八年學生時代所創作的作品，當時他師事荀白克 (Arnold Schoenberg, 1874-1951)，作品中充滿荀白克對貝爾格創作的影響。在貝爾格的作品中，頻繁使用疊架四度和絃、大三度的堆疊、增三和絃、三全音、半音階聲部進行、全音段落及使用不協和音等手法，調性趨於模糊。在素材方面，貝爾格運用了荀白克「發展變奏」(Developing Variation) 的概念，巧妙的使用三個動機發展整首作品。本研究之主體以荀白克「發展變奏」之理論詳細分析《鋼琴奏鳴曲，作品一》，貝爾格將主題的三個動機，在樂曲的呈示、發展、再現部中，運用有限的素材，以轉位、片段、擴充及移位等手法作變化，使樂曲整體架構緊湊而嚴謹。

本文共分為五個部分闡述，第一部分將阿班貝爾格的生平及其創作風格作一詳述，第二部分探討二十世紀初鋼琴奏鳴曲的傳承與創意，第三部分針對荀白克「發展變奏」的探討與對貝爾格《鋼琴奏鳴曲，作品一》之影響做一剖析，第四部份以「發展變奏」之理論分析《鋼琴奏鳴曲，作品一》，第五部分針對《鋼琴奏鳴曲，作品一》之段落、速度、力度與表情做一整理，最後為此研究的內容之總結。

The Piano Sonata op.1 was composed by Alban Berg (1885-1935) in 1908 while Berg still studied under Arnold Schoenberg (1874-1951). The piece is full of the influences of Schoenberg, however, considered as one of the best composition of Berg’s early works. In the sonata; trichord, accumulation of major third, augmented triad, tritone, chromatic scale, whole-tone passage and the utilization of dissonance were frequently used. In this situation the tonality tends to be ambiguous. Berg applied the concept of “Developing Variation”from Schoenberg in the usage of the materials in the Piano Sonata op.1. In this way, three motives were perfectly developed and built up the whole piece. This study adopts the theory of Schoenberg’s “Developing Variation” to analyze the Piano Sonata op.1. Berg used the skills of inversion, fragmentation, extension, and displacement to make the overall structure of the sonata compact and tight.

This study was divided into five parts. The first part describes Alban Berg’s life and the style of his music. The second part is about the piano sonatas in early twentieth century. The third part is a detail discussion of “Developing Variation” of Schoenberg and the influences on Berg’s Piano Sonata op.1. In the fourth part the theory of “Developing Variation”is applied to analyze the Piano Sonata op.1. The fifth part is the discussion of passage, tempo, dynamic, and expression in the Piano Sonata op.1. Last part is the conclusion of this research.

前言 1
阿班貝爾格生平及其創作風格 3
二十世紀初的鋼琴奏鳴曲 9
荀白克「發展變奏」探討與對貝爾格《鋼琴奏鳴曲，作品一》之影響 15
以「發展變奏」之理論分析《鋼琴奏鳴曲，作品一 22
呈示部 23
發展部 37
再現部 41
《鋼琴奏鳴曲，作品一》段落、速度、力度與表情 46
結論 52
參考文獻 54
附錄 58

西文書目

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Fiess, Stephen C. E.. The Piano Works of Serge Prokofiev. Metuchen, N.J.: Scarecrow Press, 1994.

Frisch, Walter. Brahms and the Principle of Developing Variation. Berkeley: University of California Press, 1984.

Frisch, Walter. “Brahms, Developing Variation, and the Schoenberg Critical Tradition.” 19th Century Music 5, no. 3 (1982): 220.

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中文書目

林勝儀。《作曲家別名曲解說珍藏版：16─新維也納樂派》。台北：美樂出版社，2002年。

吳京珍。〈鋼琴奏鳴曲的演變與風格差異〉。《臺南師院學報》34 (2001年)：493-507。

Harold Charles Schonberg。〈新維也納樂派─荀貝格、魏本、貝爾格〉，李鴛英譯。《全音音樂文摘》96 (1986年12月)：74-80。

廖唯善。〈「發展變奏」在音樂上的脈絡：由布拉姆斯《C小調鋼琴四重奏》(op. 60)第一樂章與荀白克《五首管弦樂小品》(op.16)第一首為例〉。台灣：私立東吳大學音樂系碩士論文，2011。
樂譜

Begr, Alban. Sonate for Clavier, Op. 1. Berlin: Schlesinger, n.d.(1910). Universal
Edition, 1926.
Frisch,Walter. Brahms and the Principle of Developing Variation (Berkeley: University of California Press, 1984), 10. Reproduced by permission of Faber and Faber, Ltd., from Fundamentals of Musical Composition.