貝多芬一生曾為大提琴與鋼琴寫作五首奏鳴曲和三首變奏曲，在他的五首大提琴奏鳴曲（包括早期兩首、中期一首、晚期兩首）中，顯現各時期不同的寫作風格，是一系列趣味深厚的作品。
這兩首《大提琴奏鳴曲作品102》是貝多芬最後的大提琴作品，被視為貝多芬作品風格轉入晚期的代表作，也是一八一五年中最重要的作品。因此，這兩首作品可說是具有相當的重要性，不僅是在風格上的改變，在作曲手法上也有重大的突破。除此之外，在這晚期兩首大提琴作品中
，其大提琴聲部的創作手法，更影響了之後貝多芬所創作的六首弦樂四重奏。
本研究主要以貝多芬晚期的兩首《大提琴奏鳴曲作品102》，來探討此曲之創作背景、創作手法以及樂曲特色
，除了此曲各方面的研究之外，本文將先探討十八世紀弦樂器的改良與技巧演進，以及貝多芬周遭的大提琴家們，如何影響貝多芬的大提琴作品之創作，更進而由貝多芬之最後兩首大提琴奏鳴曲以及晚期的室內樂作品中發現貝多芬如何對大提琴所扮演的傳統角色加以提升。

Beethoven composed five sonatas and three variations for cello and piano in his lifetime. His five cello sonatas (including two in his early, one in the middle and two in the late period), a series of very interesting compositions, showed different styles of different time.
These two “Cello Sonatas, Opus 102” are Beethoven’s last composition for cello. They are marked the beginning of Beethoven’s late composition style, as well as the most important compositions in the year of 1815. Hence we can say that those two pieces have attained considerable importance: not only in the change of style, but also in the innovation of his composing skills. Other than that, in these two “Cello Sonata, Opus 102”, the way of his composing for cello idioms heavily has influenced the six string quartets he composed later.
This paper is mainly based on those two “Cello Sonatas, Opus 102” in Beethoven late career. It discusses the composing background of those two pieces, the techniques in which they were written, and the characters of its music. In addition, the paper would initially mention the improvement of string instruments and the progresses of performing techniques in the 18th Century, and how the cellists around Beethoven influenced his compositions. Further, we can even find, by his late two cello sonatas and chamber music, how Beethoven has improved the conventional role of cello.

前言..........................................1

十八世紀弦樂器的改良與技巧演進................2
貝多芬周遭的大提琴家..........................4
五首大提琴奏鳴曲之概述........................9
《大提琴奏鳴曲作品102》
創作背景.....................................14
創作手法.....................................19
樂曲特色.....................................22
貝多芬對大提琴地位之提升.....................35

結語.........................................45
參考書目.....................................48

西文參考書目

Abraham, Gerald. The Age of Beethoven 1790-1830. London : Oxford University Press, .1982.

Agmon, Eytan. “The First Movement of Beethoven’s Cello Sonata, Op.69:The Opening Solo as a Structural and Motivic Source.” The Journal of Musicology. XVI （Sum. 1998） : 394-409.

Broyles, Michael. Beethoven : The Emergence and Evolution of Beethoven's Heroic Style. New York : Excelsior Music Publications, 1987.

Cobbett, Walter, ed. Cobbett's Cyclopedic Survey of Chamber Music. Vol.1
London : Oxford University Press, 1984.

Cooper, Barry. The Beethoven Compendium : A Guide to Beethoven's Life and Music. New York : Thames and Hudson, 1996.

___________. Beethoven and the Creative Process. New York : Oxford
University Press, 1990.

Dahlhaus, Carl, ed. Ludwig van Beethoven : Approaches to His Music. Mary Whittall trans. New York : Oxford University Press, 1991.

Drake, Kenneth. The Beethoven Sonatas and the Creative Experience. Bloomington : Indiana University Press, 1994.

Drabkin, William. “Beethoven and the Open String.” Music Analysis. IV （1985） : 15-28.

______________. “The Cello Part in Beethoven’s Late Quartet.” Beethoven Forum no.7, 45-66.

Kerman, Joseph. The New Grove Beethoven. London : Macmillan, 1983.

Kinderman, William. Beethoven. Los Angeles : University of California Press, 1995.

Marliave, Joseph de. Beethoven's Quartets. New York : Dover Publications, 1961.

Newman, William S. The Sonata Since Beethoven. New York : The University of North Carolina Press, 1983.

Lam, Basil. Beethoven String Quartets. London : BBC Publications, 1986.

Lockwood, Lewis. “Beethoven’s Emergence from Crisis: The Cello Sonata of Op.102 （1815）” The Journal of Musicology. ⅩⅥ （Nov. 1998） : 301-321.

Ratner, Leonard G. Classic Music : Expression, Form, and Style. New York : Schirmer Books,1980.

Rosen, Charles. The Classical Style : Haydn, Mozart, Beethoven. New York :Norton Press, 1997.

Sheer, Miriam. “Dynamics in Beethoven’s Late Instrumental Works: A New Profile.”The Journal of Musicology. XVI （Nov. 1998） : 358-378.

Solomon, Maynard. Beethoven. New York : Schirmer Books Publications, 1998.

Stanley, Glenn. The Cambridge Companion to Beethoven. New York: Cambridge University Press, 2000.

Stowell, Robin. The Cambridge Companion to the Cello. New York : Cambridge University Press, 1999.

____________. Performing Beethoven. New York : Cambridge University Press, 1994.

Tyson, Alan. Beethoven Studies 3. New York : Oxford University Press,
1982.

Walden, Valerie. One Hundred Years of Violoncello : A History of
Technique and Performance Practice, 1740-1840. New York : Cambridge University Press, 1998.

Winter, Robert , and Robert Martin, eds. The Beethoven Quartet Companion. Los Angeles : University of California Press, 1994.


中文參考書目

卡爾．舒曼。 《完全攻略貝多芬》 臺北 : 世界文物出版社 ， 1997年。

友梅。 《貝多芬的音樂思想》 臺北 : 天同出版社 ， 1978年。

林勝儀。 《貝多芬》 臺北 : 美樂出版社 ， 1992年。

邵義強。 《貝多芬傳、年表、交響曲、管弦樂》 臺北 : 天同出版社 ， 1991年。

______。 《獨奏曲淺釋》 臺北 : 全音樂譜發行 : 大陸總經銷 ， 1990年。

張世祥。 《不朽的大提琴家》 臺北 : 世界文物出版社 ， 1996年。

索羅門。 《貝多芬傳》 臺北 : 中華日報出版部 ， 1988年。

梁實秋。 《貝多芬》 臺北 : 名人出版社 ， 1982年。

野宮 勳。 《名曲音樂鑑賞入門》 臺北 : 志文出版社 ， 1992年。

鮑考雷斯科。 《貝多芬》 臺北 : 全音樂譜出版社 ， 1981年。

蘇利文。 《貝多芬的心靈世界》 臺北 : 雅歌 ， 1993年。

羅曼．羅蘭。 《永不屈服的靈魂》 臺北 : 遠流出版社 ， 1989年。