自由的即興藝術自十六世紀初期出現，歷經文藝復興、巴洛克至古典時期，由原本只是終止式前的一段裝飾，逐漸發展成在段落、和聲與調性有著完整架構的樂段，並確立了裝飾樂段(Cadenza)一詞所代表的意義。
身為古典時期代表性的音樂家與即興創作大師，沃夫岡•阿瑪迪斯•莫札特( Wolfgang Amadeus Mozart, 1756-1791 ) 的裝飾樂段已發展出其寫作之基本架構與手法，本文透過約翰•喬契•匡茲 ( Johann Joachim Quantz, 1697-1773 )、卡爾•菲利浦•艾曼紐•巴哈 ( Carl Philipp Emanuel Bach, 1714-1788 ) 及丹尼爾•賈特羅•徹克 ( Daniel Gottlob Türk, 1750-1813 ) 這三位古典時期音樂學者的論述，歸納出莫札特裝飾樂段三段體架構的寫作手法，並以其創作的三首鋼琴協奏曲作品四一四、四五三及四五六為例，探討莫札特在和聲、長度、轉調及素材的運用。同時這三首作品的寫作時期皆為莫札特最成熟具代表性的維也納時期(1782-1791)，莫札特由受雇音樂家成為自由音樂工作者，聽眾身分也由宮廷貴族開始普及至中上階級百姓，業餘音樂家的興起是否對莫札特的寫作產生影響，也是本文探討的重點。

The term “ Cadenza ” first emerged in the 16th century. It evolved through the Renaissance, Baroque, and the early Classical period. It gradually refined from embellishment of the penultimate note before cadence into a section with complete structure among phrases, harmony and tonalities and finally established its own characteristic.
As a representative musician and a master of improvisation in the Classical period, Wolfgang Amadeus Mozart’s Cadenza presented a special structure and techniques of his own. This article reviewed extensively the treatises by three Classical-period musicians Johann Joachim Quantz, Carl Philipp Emanuel Bach, and Daniel Gottlob Türk then summarized the three-parts-section composing approach of Mozart’s Cadenza and discussed the applications in harmony, length, modulation and materials by citing Mozart’s three piano concerti, K414, K453 and K456. These three concerti were composed during Mozart's most matured and representative Vienna period. This article also explored the change of Mozart from being an employed court musician to a free-lance virtuoso and the metamorphosis of his audience from aristrocrat to middle and upper-class populace. The influence and impact of rising of amateur musicians on Mozart's composing works are also examined in this paper.

〔論文審定書 i〕
〔中文摘要 ii〕
〔英文摘要 iii〕
〔目錄 iv〕
〔前言 p. 1〕
〔裝飾樂段的起源與古典時期前之歷史發展 p. 3〕
〔莫札特鋼琴協奏曲裝飾樂段創作手法之探討 p. 10〕
〔莫札特三首鋼琴協奏曲第一樂章裝飾樂段之探討 p. 16〕
〔結語 p. 42〕
〔參考文獻 p. 45〕
〔附錄 p. 47〕

西文
Badura-Skoda, Eva. Imterpreting Mozart on the keyboard. New York: Da Capo Press, 1986.
Grove Music online, S. v. “Cadenza”, by Eva Badura-Skoda. http://www.oxfordmusiconline.com ( accessed Jun. 17, 2015)
Grove Music online, S. v. ˮ Mozart ˮ by Cliff Eisen, Stanley Sadie. http://www.oxfordmusiconline.com ( accessed Jun. 20, 2015)
Grove Music online, S. v. ˮ Swieten, Gottfried (Bernhard), Baron van ˮ by Edward Olleson. http://www.oxfordmusiconline.com ( accessed Jun. 20, 2015)
Grove Music online, S. v.. “Concerto”, by Arthur Hutchings. http://www.oxfordmusiconline.com ( accessed Jun. 20, 2015)
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven, W. W. Norton & Company, 1997.
Spaethling, Robert. Mozart’s Letters, Mozart’s Life. W. W. Norton & Company, 2000.
Swain, Joseph. P. “Form and Function of the Classical Cadenza.” The Journal of Musicology 6 (Winter 1988): 27-59.
Wang, Esther. “Mozart Piano Concerto in G Major, K 453: The First-Movement Cadenza ” D. M. A. diss., University of Cincinnati, 1987.

中文
李美文, 〈莫札特鋼琴協奏曲第一樂章裝飾奏之形式與功能〉，《高雄師大學報》22 ( 2007年)。

樂譜
Corelli, Arcangelo. Ricasoli Collection: Sonatas, violin, continuo, op. 5, Louisville University.
Ganassi, Sylvestro. Opera Intitulata Fontegara. Robert Lienau Musikverlag Press, 1959.
Mozart W. A. Mozart: Piano Concertos Nos. 17-22 in Full Score with Mozart's Cadenzas for Nos. 17-19. Dover Press: 1978.
Mozart W. A. Piano Concertos Nos. 11-16 in Full Score with Mozart's Cadenzas for Nos. 12-16. Dover Press: 1978.