本論文研究的是於十九世紀前半葉，身兼法國小提琴學派之一員同時又具備炫技學派演奏風格的小提琴家威尼阿夫斯基之作品〈第二號小提琴協奏曲〉。在講究小提琴教學技術的法國小提琴學派著名教授馬薩爾的指導下，威尼阿夫斯基以極年輕的年紀就開始人生輝煌的演奏生涯，還前往聖彼得堡旅居一段時間，並在當地有豐富的演奏生活與教學歷程，對後來俄國學派的影響相當深遠。
本文分為五個章節，第一章中詳述各方資料來源，研究動機與研究方法與簡要章節介紹，並對十九世紀前半影響力較大的小提琴學派加以了解，進而深入探討與認知威尼阿夫斯基的藝術生活與創作背景，另外還針對浪漫派前半時期的重要協奏曲加以探究，了解當時諸小提琴協奏曲寫作與表演風格。第二章直接探究威尼阿夫斯基一生的精采演奏生涯、各類作品與演奏風格。第三章詳細分析此曲目創作特色，以及技巧的運用與種類。第四章著重於教學方面的探究，由各方找尋談論適用此曲目的學生程度而至完全了解此曲目之應用時機，更加詳盡探究樂曲當中各類技巧的教學問題與引導教學的方法，並向外尋求各類適當的練習曲，以補充樂曲技術練習的不足，期盼完整且廣泛的教學資源能在不同學生的學習上，充分發揮教師應有的專業水準與教學內容。第五章總結所有章節的論點，加強重申各個重要研究論述。
浪漫派小提琴協奏曲約有三個發展方向：一為承襲傳統，繼續挖掘傳統的音樂價值；一為炫技演奏風格影響下，以展現技巧為主的新音樂；再者是受到浪漫主義強烈個人色彩所影響，慢慢形成的國民樂派風格，並以各種民謠風格為曲趣的創作。威尼阿夫斯基〈第二號小提琴協奏曲〉是與帕噶尼尼、沃東等人所寫的協奏曲一樣，被列於炫技派的小提琴協奏曲。不過一般對於炫技派協奏曲的藝術評價都不高，而威尼阿夫斯基的第二號卻被譽為是難得一見的逸品，享有相當不錯的藝術評價。其技術化於音樂當中，即使在忣忣表現技巧的同時，依然保有高度的音樂性。
教學上，此曲約莫是美國弦樂教師協會的第五級曲目，同等級的作品還有莫札特〈第四、五號協奏曲〉、羅德〈第七、九號協奏曲〉、韋歐悌〈第二十二號協奏曲〉、韋瓦第〈四季小提琴協奏曲〉、聖桑〈哈瓦奈斯舞曲〉、塔悌尼〈魔鬼的顫音〉等等曲目，與同等級的其他樂曲比較起來，威尼阿夫斯基之〈第二號協奏曲〉的技巧難度是屬較高級的，所以此曲可視為是前進至第六級的前導作品，亦是拉奏炫技派樂曲中不可缺少的重要學習曲目。

This thesis aims to deal with the famous Violin Concerto no.2 of Wieniawski who is a member of French violin school and a virtuoso soloist during the mid-nineteenth-century. Wieniawski was admitted to the master class of Lambert Massart, a member of French violin school which many violin treaties and pedagogies came from. Wieniawski was a soloist when he’s young. He settled in St Petersburg from 1860 to 1872 and exerted a decisive influence on Russian violin school.
The first chapter is to introduce the main bibliography, the motive and the search process of the thesis. Also it is to make a survey of violin schools, soloists and important violin concertos before Wieniawski. The second chapter is to present the life, works and performance style of Wieniawski. The third chapter goes to discuss Wieniawski Violin Concerto no.2 and analyzes technique he used. The forth chapter is to mainly discuss several teaching ways for Wieniawski Violin Concerto no.2, including the levels of students and solutions of techniques to help different students. The fifth chapter concludes the four chapters above.
After Beethoven, the violin concertos developed along three independent lines. One inherits tradition and stressed the musical value, another follows the virtuoso path, and the third is the new type of ‘national’ concerto. Wieniawski Violin Concerto no.2 is an important virtuoso work like Concertos of Paganini and Vieuxtemps. Among the virtuoso works, this concerto is one of few works that could combine technique dexterity and music value.
Wieniawski Violin Concerto no.2 is the fifth level of the String Syllabus by American String Teacher Association. There are many works in the same Level, like the Concertos no.4 and no.5 by Mozart, the Concertos no.7 and no.9 by Rode, the Concerto no.22 by Viotti, the Concertos ‘four seasons’ by Vivaldi, ‘Havanaise’ by Saint-saën, ‘Devil’s Trill’ by Tartini and so on. Compared with those works in the same level, Wieniawski Concerto no.2 is more difficult in technique. It is a bridge between the fifth and sixth level and a virtuoso violin work.

第一章 緒論
第一節 研究動機………………………………………………1
第二節 文獻探討與研究法……………………………………3
第三節 浪漫派前半時期小提琴學派之發展…………………9
第四節 浪漫派著名小提琴協奏曲與其特色…………………23
第二章 作曲家之生平、作品與演奏特色
第一節 生平事蹟與作品………………………………………28
第二節 演奏特色………………………………………………37
第三章 威尼阿夫斯基第二號小提琴協奏曲分析
第一節 創作特色………………………………………………41
第二節 技巧分析………………………………………………47
第四章 威尼阿夫斯基第二號小提琴協奏曲教學
第一節 適用之學生程度………………………………………73
第二節 技巧教學之整理………………………………………77
第五章 結論……………………………………………………103
參考書目 …………………………………………………………106
附錄一 威尼阿夫斯基作品表…………………………………110
附錄二 美國弦樂教師協會「小提琴教學曲目選」…………113

外文書目
Auer, Leopold. Violin Playing As I Teach It. New York: Dover Publications, Inc., 1980.
Brown, Clive. “Bowing Style, Vibrato and Portamento in Nineteenth-Century Violin Playing.” Journal of the Royal Musical Association, vol. 113(1988), 97-128.
Duleba, Wladyslaw. Wieniawski. translated by Grazyna Czerny. Neptune City: Paganiniana Publications, Inc., 1984.
Emery, F.B. The Violin Concerto. 2 vol. N.Y., 1969.
Fischer, Simom. Basics—300exercises and practice routines for the violin. N.Y.: Edition Peter, 1997.
Flesch, Carl. Problems of Tone Production In Violin Playing. N.Y.: Carl Fischer, 1931.
__________. Scale system. N.Y.: Carl Fischer, 1930.
__________. The Art of Violin Playing Vol.Ⅰ. N.Y.: Carl Fischer, 1924.
__________. The Art of Violin Playing Bk.Ⅱ. N.Y.: Carl Fischer, 1930.
Galamian, Ivan. Principles of Violin Playing and Teaching. Englewood Cliffs, N.J.: prentice-Hall, 1962.
__________. Contemporary violin technique PartⅠ,Ⅱ,Ⅲ. N.Y.: Galaxy Music Corpopation, 1963.
Grodner, Murray. Concepts in String Playing. Indiana University Press, 1979.
Littrell, David A. String Syllabus Vol. 1. A.S.T.A., 1997.
Nishida, L. M. A study of Nineteenth-Century Violin Virtuoso: Selected Composers and Their Work M.M. thesis, Chapman Collage, 1997.
Schwarz, Boris. Great Masters of the Violin. N.Y.: Simon and Schuster, 1983.
Stowell, Robin. Violin Teachnique and Performance Practice in the late eighteenth and early nineteenth centuries. London: Cambridge University Press, 1985.
Sugden, John. Paganini. Omnjbus Press, 1986.
Szigeti, Joseph. Szigeti on the Violin. N.Y.: Dover Publications, Inc., 1979.
The New Grove Dictionary of Music and Musicians (1980). S.v. “Baillot, Pierre” by Paul David & Manoug Parikian.
__________. S.v. “Bériot, Charles-Auguste de” by Boris Schwarz.
__________. S.v. “Concerto” by Engel, H., Sadie, S., Walker, T. and Werren, C.
__________. S.v. “Gypsy Music” by Bálint Sárosi.
__________. S.v. “Gypsy Scale” by Adrienne Simpson.
__________. S.v. “Kreutzer, Rodolphe” by David Charlton.
__________. S.v. “L’abbé, le fils” by Neal Zaslaw.
__________. S.v. “Paganini, Nocolò” by Boris Schwarz.
__________. S.v. “Paris” by Bernarr Rainbow.
__________. S.v. “Rode, Pierre” by Boris Schwarz.
__________. S.v. “Violin” by Boyden, David D. and Schwarz, Boris.
__________. S.v. “Wieniawski, Henryk” by Boris Schwarz.






中文書目
卡爾•弗萊什（Flesch, Carl）原著。《小提琴演奏之藝術》。馮明譯。台北：黎明出版社，民國七十四年。
列夫•尼柯拉耶維奇•拉阿本（Raaben, L.）原著。《古今傑出小提琴家》。廖叔同譯。台北：世界文物出版社，民國八十二年。
伍鴻沂著。《克羅采＜四十二首小提琴練習曲＞分析與教學研究》。高雄：復文圖書出版社，民國八十四年。
貝拉•巴爾扥克（Bartók, Béla）原著。《巴扥克論文書信選》。人民音樂出版社編輯部，湖北藝術學院作曲系編輯。台北：世界文物出版社，民國八十二年。
李哲洋主編。《最新名曲解說全集第九冊－協奏曲2》。台北：大陸書店，民國八十一年。
國立編譯館編訂。《音樂名詞》。台北：桂冠圖書公司，民國八十三年。
馬格瑞特•康貝爾（Campbell, Margaret）著。《不朽的小提琴家》。張世祥譯。台北：世界文物出版社，民國八十六年。
黃輔堂著。《小提琴教學文集》。台北：全音出版社，民國八十三年。
__________。《教教琴，學教琴－小提琴技巧教學新論》。台北：大呂出版社，民國八十四年。
葛拉米安（Galamian, Ivan）原著。《小提琴演奏與教學法》。林維中，陳謙斌合譯。台北：全音出版社，民國八十五年。
雷波•奧爾（Auer, Leopold）原著。《我的小提琴演奏法》。司徒華城譯。台北：世界文物出版社，民國八十二年。
陳藍谷著。《小提琴演奏之系統理論》。台北：全音出版社，民國八十七年。
羅賓•史扥威（Stowell, Robin）原著。《小提琴指南》。湯定九譯。台北：世界文物出版社，民國八十五年。



樂譜
Fiorollo. 36 Etudies or Caprices. Edited by Ivan Galamian. Violin Score. N.Y.: International Music Company.
Kreutzer. 42 Studies. Edited by Ivan Galamian. Violin Score. N.Y.: International Music Company.
Rode. 24 Caprices. Edited by Ivan Galamian. Violin Score. N.Y.: International Music Company.
Wieniawski. Concerto no.2 in F minor op.14. Edited by Ivan Galamian. Violin Score. N.Y.: International Music Company.
Wieniawski. Concerto no.2 in D minor op.22. Edited by Ivan Galamian. Violin Score. N.Y.: International Music Company.
馬沙士練習曲《第一、二冊》。葛拉米安校訂。台北：全音出版社。


錄音參考資料
Heifetz, J. EMI razyna Classics cdh 7 64251 2, 1992.
Perlman, I. DG Digital · Stereo 410 526-2, 1983.
Shaham, G. DG Digital · Stereo 431 815-2, 1991.