十九世紀晚期的鋼琴改編曲種類繁複且多樣，素材來自歌劇、室內樂、芭蕾舞劇、交響曲，甚至原本即為鋼琴的曲目，都成為鋼琴改編曲的素材，作曲家在改編曲中加入濃厚的個人特色，為原作注入新意的同時，也忠實呈現因藝術作品所啟發的豐富想像。
郭多夫斯基的五十三首蕭邦練習曲改編版本，為當代音樂圈投下一顆震撼彈，這部作品不僅代表著當代的音樂產物，更將鋼琴演奏技巧帶入高峰。其中二十二首給予單一左手的練習曲更成為往後作曲家學習的楷模與典範，作品中所包含左手演奏技巧的極限挑戰，正展現了作曲家對於鋼琴演奏技巧永無止盡的追求，且為炫技時期寫下嶄新的一頁。

In the late nineteenth century, the material types of piano transcriptions were full of diversities, which include thematic elements from genres of opera, chamber music, ballet, and symphony, even piano repertoire had being transcribed as well. Composers have combined their strong personal characteristics into the originals. While creating new thoughts for the transcriptions, they were also truly revealing their enriched imaginations inspired by artistic masterworks.
Leopold Godowsky’s fifty-three adapted versions of Chopin Etudes have made a tremendous impact on modern musical world. This work not only represents the compositional product of contemporary music, but also brings the piano performing technique into its peak. Among the fifty-three Etudes, twenty-two of them were written for left-hand playing only. These Etudes have become forerunners for future composers to learn from. The ultimate challenge of left hand piano playing technique created by Godowsky shows the composer’s endless pursuit of perfect piano performing technique, and at the same time, it writes a brand new chapter for the virtuoso period in the music history.

中文摘要............................................i
目錄..................................................iii
表格目錄...........................................iv
譜例目錄............................................v
附錄目錄............................................vii
前言..................................................viii
第一章 郭多夫斯基之音樂生涯
生平.......................................1
郭多夫斯基與鋼琴的黃金年代...4
第二章 浪漫晚期鋼琴改編曲...............10
第三章 郭多夫斯基改編蕭邦《練習曲》：單一左手練習曲
左手鋼琴練習曲......................18
創作背景................................22
改編手法................................26
結論.................................................41
參考文獻..........................................43
附錄.................................................46

【外文書籍】
Barnes, Christopher. The Russian Piano School : Russian Pianists and Moscow Conservatoire Professors on the Art of the Piano. London : Kahn & Averill, 2007.

Edel, Theodore. Piano Music for One Hand. Bloomington : Indiana University Press, 1994 .

Gerig, Reginald R. Famous Pianists & Their Technique. Bloomington : Indiana University Press, 2007.

Hamilton, Kenneth. After the Golden Age: Romantic Pianism and Modern Performance. New York：Oxford University Press, 2007.

Neuhaus, Heinrich. The Art of Piano Playing. Trans. K.A.Leiboritch. New York：Praeger Publishers,1973.

Nice, David. Prokofiev : from Russia to the West, 1891-1935. New Haven : Yale University Press, 2003.

Rimm, Robert. The Composer-Pianists : Hamelin and The Eight. Portland:Amadeus Press,2002.

Sitsky, Larry. Busoni and the Piano : The Works, The Writings, and The Recordings. Hillsdale, NY : Pendragon Press, 2009.

【外文期刊】
Crimp, Bryan. “ A Golden Age of Pianists.” The Musical Times, Vol. 130, No. 1760, Aspects of the Keyboard (1989)： 605-609.

Christensen, Thomas. “Four-Hand Piano Transcription and Geographies of Nineteenth-Century Musical Reception.” Journal of the American Musicological Society, Vol. 52, No. 2 (1999)： 255-298.

Elvers, Rudolf and Hopkinson, Cecil. “A survey of the Music Catalogues of Whistling and Hofmeister.” Fontes Artis Musicae 19(1972)： 1-7.

Grante, Carlo. “Godowsky: Paraphrases & Transcriptions.” Music Index, Vol. 75 Issue 4(2012)：127.

Godowsky, Leopold. “ Piano Music for the Left Hand.” The Musical Quarterly, Vol. 21, No. 3 ( 1935)： 298-300.

Johnson, Michael.“A Left-handed Competent to Frédéric Chopin: An interview with Ivan Illić.” Clavier Companion, Vol. 3 Issue 4 (2011)： 26-29.

Saxe , Leonard S. “The Published Music of Leopold Godowsky.” Notes, Second Series, Vol. 14, No. 2 (1957)： 165-183.

【回顧期刊】
Ehrlich, Cyril. “Etudes Op. 10 Nos. 1, 3, 5 (Two Versions), 6 and 7; Op. 25 No. 1; Nouvelle étude No. 1. Waltzes: D♭, Op. 64 No. 1; A♭, Op. 64 No. 3; A♭, Op. 69 No. 1; F Minor, Op. 70 No. 2; D♭, Op. 70 No. 3; E♭, Op. 18 by Jorge Bolet, Chopin-Godowsky .” The Musical Times, Vol. 119, No. 1629, Schubert Anniversary Issue (1978)：961.

Harrington. “Transcriptions & Arrangements.” American Record Guide, Vol. 70 Issue 2( 2007)：90-90.

Harrison, Max. “Godowsky Review: Godowsky.” The Musical Times, Vol. 131, No. 1774 (1990)：661.

Rimm, Robert. “The Alexander Siloti Collection: Editions, Transcriptions, and Arrangements for Piano Solo by Alexander Siloti, Charles Barber; 53 Studies on Études of Frédéric Chopin and Other Chopin Arrangements by Leopold Godowsky, Millan Sachania. ” Notes, Second Series, Vol. 61, No. 2 (2004)：561-565.

Rivers, Kate. “Original Works and Transcriptions by Leopold Godowsky. ” American Music, Vol. 12, No. 1 (1994)： 121-122.

【中文書籍】
焦元浦。《遊藝黑白：世界鋼琴家訪問錄，上、下集》。台北：聯經出版事業股份有限公司，2007。
哈洛‧荀伯格(Harold C. Schonberg) 。《不朽的鋼琴家》，顧連理、吳佩華譯。臺北市 : 世界文物，1998。
陳效真。《普雷特涅夫組曲 : 「音樂是我此生的使命」》。臺北市 : 音樂時代文化發行，2007。
大衛‧伯內特(Laurence Davies) 。《拉威爾 : 管弦樂》，溫宏譯。 臺北市 ： 世界文物, 1997。
紐豪斯。《論鋼琴表演藝術》，林道生校訂。台北：樂韻，1989。

【學術論文】
鍾佩文。十九世紀音樂會練習曲之探討。台灣：國立中山大學音樂學系研究所碩士論文，1999。
林曉君。拉赫曼尼諾夫鋼琴改編曲《愛之喜》之探討。台灣：國立中山大學音樂學系研究所碩士論文，2011。
沈俊男。單樂章左手鋼琴協奏曲。台灣：國立中山大學音樂學系研究所碩士論文， 1999。
林嘉瑋。Ferruccio Busoni之音樂思想－《新音樂美學草案》初探，國立臺北藝術大學音樂學研究所碩士論文，2003。
Zhu, Di.“Prokofiev's Piano Transcriptions: A Comparative Study of His Transcribing Techniques.” PhD diss., University of Cincinnati, 2006.

【有聲資料】
Godowsky, Leopold. Great Pianists of the 20th Century. Philips, 1999.Compact disc.

【樂譜】
Godowsky, Leopold. “Studies on Chopin's Etudes.” Berlin : R. Lienau Musikverlag, 1980.
阿弗列⋅克爾托(Alfred Cortot)。《蕭邦十二首練習曲及解析 : 作品10、25》。臺北市 : 全音樂譜，1914。

【參考辭典】
The New Grove Dictionary of Music and Musicians（2001）, S. v. “Godowsky, Leopold” by Brian Trowell.