齊瑪諾夫斯基被視為二十世紀波蘭最重要的作曲家，其創作生涯主要分為三個時期，創作手法深受蕭邦、史克里亞賓、華格納、史特拉汶斯基以及印象樂派、民族樂派的影響。《前奏曲》作品一是齊瑪諾夫斯基早期的鋼琴作品，創作風格深受蕭邦、華格納以及德國後期浪漫主義的影響。「前奏曲」的歷史具有特殊的趣味，因它表現出鍵盤音樂最早的形式。前奏曲是從十六世紀的不依附前奏曲的型式開始萌芽，到了巴洛克時期則演變成以附屬前奏曲為主，而到了浪漫時期蕭邦才確立前奏曲獨立的架構。齊瑪諾夫斯基九首前奏曲均為短小的作品，創作手法依據單一動機或主題作完全的發揮，經由華美的旋律，表達如詩般的樂思，善用半音與連續半音的進行，運用複雜的和聲語彙，加入不協和音、和聲外音，擴展音樂織度，亦使用大小調的交替造成調性模糊，樂曲中常出現調性的不確定性，往往到曲終才會出現真正調性的依歸。齊瑪諾夫斯基音樂風格獨特，運用不同的寫作技巧，將音樂敏感的特質、多變的情緒與意境巧妙的結合在一起，造就了九首動聽的前奏曲。

Szymanowski was regarded as the most important Polish composer of the 20th century. His creative life could be divided into three periods, and his compositional skills were deeply influenced by Chopin, Scriabin, Wagner, Stravinsky, the Impressionists and the National School of Music. Preludes, op.1 was one of Szymanowski’s earlier works, which the creative music style was influenced by Chopin, Wagner and the late German Romanticism. The historical background of “prelude” is with a kind of special interest, because it expressed the important characteristics of keyboard music in the earlier period. The “prelude” originated from the unattached prelude in the 16th century, then graduately developed to evolve the attached prelude, becoming the main type in the Baroque period. The type of independent prelude was lately established by Chopin in the Romantic period. All the nine preludes are essays. The composition technique is often based on a single motivation or a subject, and expresses the music through the graceful melody. Furthermore, Szymanowski was skillful in using the complex harmony, adding dissonances and non-chord tones to expand the texture of music. He also employed the major and minor keys in turn to create a kind of indecisive tones. Therefore, the tonal structure became more clear only at the end of the music. The music style of Szymanowski is very characteristic and with diversity. He adapted different composing techniques to combine various characteristic sensations, moods and perspectives brilliantly, and produced the nine pleasant preludes consequently.

前言………………………………………………………………………1
第一章 齊瑪諾夫斯基《前奏曲》作品一之創作背景探討…………2
第一節 波蘭歷史簡述與波蘭音樂背景……………………………2
第二節 齊瑪諾夫斯基之生平與創作風格…………………………6
第三節 前奏曲的歷史源由及其特質………………………………13
第二章 齊瑪諾夫斯基《前奏曲》作品一之分析…………………16
第一節 樂曲架構……………………………………………………17
第二節 織度…………………………………………………………21
第三節 旋律…………………………………………………………24
第四節 節奏…………………………………………………………30
第五節 和聲…………………………………………………………33
第三章 齊瑪諾夫斯基《前奏曲》作品一演奏技巧與詮釋………36
第一節 力度…………………………………………………………36
第二節 音樂術語……………………………………………………39
第三節 踏板…………………………………………………………42
第四節 觸鍵…………………………………………………………45
第五節 寬音域………………………………………………………49
第四章 結語…………………………………………………………51
附錄：齊瑪諾夫斯基作品表…………………………………………53
參考文獻………………………………………………………………56

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