舒曼《A小調鋼琴協奏曲》作品五十四，其第一樂章原為單樂章的《A小調鋼琴與管絃樂合奏幻想曲》，在相隔四年後，舒曼加上另外兩個樂章，使之成為完整三個樂章的鋼琴協奏曲，並以單一主題之構想貫穿全曲，達成樂曲的統一性。
本文分為四個部分。第一部份為作曲背景之探討，研究舒曼寫作此首協奏曲之動機；第二部份則針對此首協奏曲創作過程的深入瞭解；第三部分是三個樂章的曲式分析，除了對三個樂章的曲式架構作表格統整之外，並對此首樂曲使用單一主題之創作理念，運用主題變形之創作手法加以探討；最後一部份，則是從此首協奏曲所產生的音響、和聲、旋律和節奏的作曲手法加以研究，以便瞭解舒曼特殊的創作手法。
《A小調鋼琴協奏曲》結合古典樂派與浪漫樂派的作曲風格，將傳統概念的重要素材與浪漫時期協奏曲的特徵相結合，成功展現出獨奏者與管絃樂團之相輔相成。

The first movement of Robert Schumann’s A minor piano concerto is originally the Fantasy in A minor for piano and orchestra which composed in 1841. Four years later, Schumann himself added another two movements to let it become a concerto of three complete movements. The idea of monothematic is through out all movements to unite the concerto.
This text is divided into four parts to research. The first part is the discussion of composing background. The second part is the realization of the compositional process. The third part is concentrated on the analysis, the formal structure of the three movements, includes the monothematic using and the strategy of thematic metamorphosis using. And the last part investigates the sound, harmony, melody and rhythm of this concerto, in order to understand the special composing method of Schumann.
The A minor concerto not merely successfully incorporated Classic and Romantic composing styles, in the meanwhile, Schumann displayed his outstanding strategy of balancing the soloist and the orchestra.

前言………………………………………………………………………1

《A小調鋼琴協奏曲》之作曲背景……………………………………2

《A小調鋼琴協奏曲》之創作過程…………………………………….7

《A小調鋼琴協奏曲》之曲式分析…………………………………...…9
第一樂章………………………………………………………..…11
第二樂章………………………………………………………..…20
第三樂章…………………………………………………………..23

舒曼特殊的創作手法…………………………………………………..29

結論……………………………………………………………..………36

參考書目…………………………………..……………………………38

外文書目

Botden. D. D. “When is a Concerto not a concerto” The Musical Quarterly. 43 (1975): 220-232.

Brown, Thomas Alan. The Aesthetics of Robert Schumann. New York: Philosophical Library Inc., 1968.

Culshaw, John. The Concerto. New York: Chanticleer Press Inc., 1949.

Daverio, John. Robert Schumann: Herald of a “New Poetic Age”. New York: Oxford University, 1997.

Diane, Kay Earle. An Analytical of the Piano Concerto in A Minor, OP. 54,of Robert Schumann. DMA., document. The Ohio State University, 1984.

Erlebach, Rupert. “Style in Piano Concerto Writing”. Music and Letters 17 (1936): 131-139.

Frager, Malcolm. “The Manuscript of the Schumann Piano Concerto”. Current Musicology 15 (1973): 83-87.

Gál, Hans. Schumann Orchestral Music. Seattle: University of Washington Press (British Broadcasting Corporation Music Guides ), 1979.

Gillesie, J. Five Centuries of Keyboard Music. New York: Dover Publication, 1965.

Gordon S. A History of Keyboard Literature. New York: Schirmer Books, 1996.

Hinson, Maurice. Music for Piano and Orchestra: An Annotated Guide. Bloomington: Indiana University Press, 1981.

Kirby F. E. Music for Piano: A Short History. Oregon: Amadeus Press, 1955.

Lang, Paul Henry. Music in The Western Civilization. New York: Norton, 1969.
LaRue, Jan. Guidelines for Style Analysis. Michigan: Harmonie Park Press, 1992.

______________. The concerto 1800-1900: A Norton Music Anthology. New York: Norton, 1969.

Meyer, J. A. “The Idea of Conflict in the Concerto” Studies in Music 8 (1974): 38-52.

Nieman, Alfred. “The Concerto” (Alan Walker ed.) Robert Schumann: The Man and His Music. London: Barrie and Jenkins Ltd., 1972.

Obenshain, Kathryn. “Schumann as Symphonist” The American Music Teacher. Vol.23, number 6 ( July, 1974):31-33.

Plantinga, Leon. Romantic Music. New York: Norton , 1984.

Reich, Nancy B. Clara Schumann: The Artist and the Woman. Ithaca and London: Cornell University Press, 1985.

Roeder, Michael Thomas. A History of the Concerto. Oregon: Amadeus Press, 1994.

The New Grove Dictionary of Music and Musicians. (1980). S.v. “Robert Schumann,” by Gerald Abraham and Eric Sams, S.v. “Concerto,” by Arthur Hutchings.

Schumann, Robert. Piano Concerto in A Minor, Op.54. Edited by Emil von Sauer, with an orchestral reduction for accompanying piano. New York: Edition Peters.

Stephan, D. Lindeman. Formal Novelty and Tradition in the Early Romantic Piano Concerto. Ph.D. dissertation, The State University of New Jersy, 1995.

Taylor, Ronald. Robert Schumann: His Life and Work. London: Granada Publishing Limited, 1982

Todd, R. Larry. Nineteen-Centuries of Piano Music. New York: Schirmer Books, 1990.

____________. Schumann and his World. New Jersey: Princeton University, 1994.
Walsh, Stephen. “Schumann’s Orchestration: Function and Effect” Music Newsletter. Vol. II, July 1972, p, 3-8.

Young, Percy M. Concerto. London: Phoenix House Ltd. : Phoenix Music Guides, 1957.

中文書目

李哲洋主編。《最新名曲解說全集》。台北：大陸書店，民國八十年。

李鴛英譯。〈協奏曲趣聞48題〉《全音音樂文摘》（平野昭等著）。民國七十八年十二月號，頁

李鴛英譯。〈修曼生平：溫馴與叛逆集於一身〉《全音音樂文摘》（Herold C. Schonberg著）。民國七十五年十月號，頁76-89。

張洪島等譯。《李斯特論白遼士與舒曼》（李斯特原著）。台北：世界文物出版社，民國八十三年。

張海燕譯。《天使與魔鬼之舞：舒曼的一生》（彼得．奧斯華原著）。台北：高談文化，民國八十九年。

鄧元忠著。《西洋近代文化史》。台北：五南圖書出版公司，民國八十五年。

曉蘭譯。《舒曼：管弦樂》（Hans Gál著）。台北：世界文物出版社，民國八十六年。

衛德全譯。〈修曼一生的精神狀態〉《全音音樂文摘》（石山昱夫著）。民國七十五年十月號，頁90-97。