此報告研究莫札特鋼琴協奏曲作品四六七鋼琴與樂團的關聯性，包含前言、三個部分與結論。前言討論獨奏協奏曲的起源與發展，接著的部分敘述莫札特之前協奏曲中獨奏與樂團關係的發展。下一部分分析作品四六七的曲式架構，第一樂章為協奏－奏鳴曲式，第二樂章為三段歌謠曲式，第三樂章為迴旋曲式，並以圖表表示。接著是報告中最重要的部分，根據葛達拉斯東在其著作《莫札特與他的鋼琴協奏曲》歸類莫札特在作品四六七獨奏與樂團間關聯性的四種形式，其一以樂團為伴奏協助獨奏者，其二為獨奏者伴奏樂團，其三為兩者相互合作或相互競爭抗衡，其四兩者以回應方式輪流出現，並加以譜例加以舉証。

This paper is a study of the relationship between piano and orchestra in Mozart’s piano concerto, K.467. The paper includes an introduction followed by three sections and a conclusion. The introduction briefly reviews the origins of the solo concerto. The following section discusses the changing nature of the relationship between tutti and soloist as the solo concerto evolved up until the time of Mozart. The next section is an analysis, with diagrams, of the form of K.467, the first movement being in concerto-sonata form, the second movement in three-stanza song form, and the third movement in rondo form. This is followed by the most important section of the paper which categorizes and discusses four types of solo-tutti relationships used by Mozart in K.467, showing examples from the score. These four types, suggested by Girdlestone in his book Mozart and His Piano Concertos, include: first, the orchestra as accompaniment supporting the soloist; second, the soloist as accompaniment to the orchestra; third, orchestra and soloist cooperating or competing on an equal basis; and fourth, orchestra and soloist entering in turn, answering one another.

目 錄


前言…………………………………………………………………2


莫札特之前協奏曲中獨奏與樂團的關係………………………4


莫札特的鋼琴協奏曲……………………………………………..6


作品四六七的曲式分析…………..………………………………8


作品四六七的獨奏與合奏關係………………………………….21


結論………………………………………………………………….35


參考書目……………………………………………………………38

參考書目
外文部分
Badura Skoda, Eva. Interpreting Mozart on the keyboard. New York: Da Capo Press, 1986.
Edge, Dexter. “Mozart’s Viennese Orchestras.” Early Music 20(1992): 64-84.
Elias, Norbert. Mozart : Portrait of a Genius. Berkeley : University of California Press, 1993.
Einstein, Alfred. Mozart, His Character, His Work. New York: Oxford University Press, 1962.
Ferguson, Linda Faye. “The Classical Keyboard Concerto: Some Thoughts on Authentic Performance.” Early Music 12(1984): 437-445.
Grave, Floyd K. “On Punctuation and Continuity in Mozart’s Piano Concertos.” Piano Quarterly 95(1976): 20-25.
Grayson, David A. Mozart Piano Concertos No. 20 and No. 21. New York : Cambridge University Press, 1998.
Girdlestone, Cuthbert. Mozart and his piano concertos. New York: Dover Publications, 1964.
Hutchings, Arthur. A companion to Mozart's piano concertos. New York : Oxford University Press, 1998.
Layton, Robert. A Guide to the Concerto. New York: Oxford University Press, 1996.
Levin, Robert D. “Mozart’s Keyboard Concertos.” in Eighteenth— Century Keyboard Music, ed. Robert L. Marshall, 350-351& 375-377.
London, H. C, Robbins, and Donald Mitchell. The Mozart Companion. New York : Cambridge University Press, 1997.
Maunder Richard. “Performing Mozart and Beethoven Concertos.” Early Music 17(1989): 139- 140.
Maunder Richard. “Mozart’s Keyboard Instruments.” Early Music20( 1992): 207-219.
Roeder, Michael Thomas. A History of the Concertos. Portland: Amadeus Press, 1994.
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: W. W. Norton & Company, 1997.
The New Grove Dictionary of Music and Musicians.(1980).S. v. “Concerto” by Tomas Walker, Charles Warren, Stanley Sadie.
Veinus, Abraham. The Concerto. New York: Doubleday, Doran and Company, Inc., 1944.
Zaslaw Neal. Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996.
Zaslaw Neal. “Mozart’s Orchestras.” Early Music 20(1992): 197-205.

中文部分
艾倫•瑞奇著，李玫玲，周靈芝譯。 《莫札特：第二十號與二十一號鋼琴協奏曲》 。第一版。臺北市：智庫文化出版，一九九七年。
芮德克里著，老耀譯。 《莫札特：鋼琴協奏曲》 。初版。臺北市： 世界文物, 一九九七年。