弦樂四重奏為古典時期室內樂的代表性曲態，萌芽於前古典時期，與三重奏鳴曲步入尾聲的時間大致相同。三重奏鳴曲與弦樂四重奏在音樂特徵具有明顯的關聯性，因此探討兩種曲態之間的過渡時期特徵有助於了解弦樂四重奏的形成階段。本文的論述，主要探討兩種曲態在樂曲結構、聲部結構與創作技法的所具有的過渡性特徵。透過社會背景的討論以及音樂作品的研究，進一步瞭解早期弦樂四重奏的發展歷程。
本文的內容除序論與結論外共包含三章，第一章探討古典前期弦樂室內樂之創作背景；第二章則針對三重奏鳴曲在一七二○到一七七○年的發展論述；第三章的論述主軸早期弦樂四重奏之音樂特徵。三重奏鳴曲的創作在十八世紀中期已呈現高音主導的主音風格，數字低音的消失以及由三和絃構成的伴奏聲部，導致三重奏鳴曲的聲部結構轉變，中提琴取代了原先的大鍵琴聲部，弦樂四重奏的架構於是形成。前古典時期蓬勃的社交生活造成室內樂作品的大量需求，引發作曲家在創作上從事多方嘗試，從多樣而豐富的創作手法中，整合成自然、優雅、平衡、對稱的音樂風格，將弦樂四重奏推向成熟階段。

The String quartet, a representative genre in the chamber music, was emerged in the Pre-Classical era, a period that the trio sonata was about at end of its development. The musical characteristics of the string quartets and trio sonatas were closely connected. The present study centers on the transitional stylistic features of the two genres in order to classify the initial stage for the development of the string quartet. This research focuses on the analysis of works of the trio sonata and the string quartet which were written during the transitional period.
The thesis consists of three main chapters, in addition to the introduction and conclusion. Chapter one discusses the background of the string chamber music in Pre-Classical era. Chapter two describes the development of the trio sonata from 1720 to 1770. Chapter three concentrates on the musical characteristics of early development of the string quartets. The works of the trio sonata in mid-eighteenth century had already been characterized by the treble-dominated homophonic texture. In addition, the viola replaced the basso continuo and the chordal texture in the inner voices that led to the result in the change of the texture of trio sonata to the string quartet. The emergence of plentiful social occasions in Pre-Classical era required a large number of the chamber music. The string quartets were brought during this crucial moment. The composers at this stage tried a variety of tastes of styles and eventually, the mixed characteristics evolved into a natural, elegance, balanced, and symmetrical style and led the string quartet to its maturity.

目錄

緒論………………………………………………………………………6
第一章 前古典時期弦樂室內樂之創作背景…………………… 15
第一節 歷史背景概說 …………………………………………… 15
第二節 室內樂的社會環境…………………………………………21
第三節 樂曲名稱的運用……………………………………………29
第二章 一七二○至一七七○年的三重奏鳴曲發展…………… 36
第一節 三重奏鳴曲的創作概況………………………………… 36
第二節 義大利地區的作品特徵………………………………… 44
樂章編排……………………………………………… 45
聲部關係……………………………………………… 49
旋律型態……………………………………………… 56
第三節 德奧地區的作品特徵…………………………………… 61
樂章編排……………………………………………… 62
聲部關係……………………………………………… 67
旋律型態……………………………………………… 74
第三章 早期弦樂四重奏之音樂特徵…………………………… 79
第一節 樂曲架構 ……………………………………………… 79
樂章編排……………………………………………………… 80
曲式變化……………………………………………………… 85
第二節 各聲部間的關係………………………………………… 87
仿三重奏鳴曲的織度……………………………………88
進入四重奏的聲部架構………………………………… 96
第三節 旋律型態與其他創作技法………………………………106


結論…………………………………………………………………… 120
附錄一 ………………………………………………………………… 128
附錄二 ………………………………………………………………… 129
參考書目 ………………………………………………………………130

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