莫里斯•拉威爾於一八九七年與一九二三至一九二七年間分別創作了一首《小提琴奏鳴曲》，其中第二首較為人知，而第一首《小提琴奏鳴曲》直至一九七五年方被發現。本文除了前言與結語之外包含三個篇章：在第一章中，主要深入了解拉威爾二首《小提琴奏鳴曲》之寫作歷程、重要演出者與演出記錄；第二章針對此二首《小提琴奏鳴曲》，依樂章逐一分析其曲式與寫作手法，並統整二首樂曲、第二首小提琴奏鳴曲三樂章之間，寫作手法之關聯性與突破性的發展；在第三章的部份，則研究此二首作品之小提琴演奏技巧，將左手、右手分別使用之技巧剖析之後，並提出一些演奏上之建議，以期能兼顧音樂性與技巧性之詮釋方式。
拉威爾所有含弦樂之器樂室內樂中，為小提琴與鋼琴寫作之奏鳴曲共有二首，而此二首《小提琴奏鳴曲》分別居於拉威爾含弦樂室內樂曲目之第一首與最後一首樂曲，代表著拉威爾之寫作生涯中不同時期之風格特色。藉由二首同型態之作品可明確觀察出拉威爾之寫作風格、小提琴技巧運用之異同。對小提琴演奏家而言，更因為其不同之風格展現，給予小提琴家對於演奏小提琴曲目時多樣化之選擇。

Maurice Ravel (1875-1937) composed two sonatas for violin and piano, first one in 1897 and the later one during the period between 1923 and 1927. The first sonata wasn’t discovered until 1975. The second one is more popular nowadays.
In addition to the introduction and the conclusion, this thesis is divided into three chapters. The first chapter provides general information of these two sonatas. It emphasizes on the deep thoughts had given during Revel’s composing, and records of the leading performers and performances of the two sonatas for violin and piano. In chapter two, the author analyzes and compares the structures and the writing methods for each movement from both sonatas. In addition, the author integrates correlations and the breakthrough points in each movement from both sonatas. Last chapter explores the violin techniques of these two works. Musical and technical suggestions are provided on the execution and interpretation.
These two sonatas are the only ones written for violin and piano among all the strings chamber music works by Maurice Ravel. They are also the first and the last strings chamber music works Ravel composed. Each of the sonatas represents different music era of Ravel. The similarities and differences of writing style and violin technique used by Ravel in these two sonatas are presented in this thesis. The diversity of Ravel's sonatas for violin and piano certainly enriches the repertoire of performing violinists.

前 言 ……………………………………………………………...1

第一章 二首小提琴奏鳴曲之創作背景
第一節 小提琴奏鳴曲（一八九七）……………………...4
第二節 小提琴奏鳴曲（一九二七）……………………..11

第二章 二首小提琴奏鳴曲之樂曲分析
第一節 小提琴奏鳴曲（一八九七） …………………….21
第二節 小提琴奏鳴曲（一九二七）第一樂章 …………34
第三節 小提琴奏鳴曲（一九二七）第二樂章 …………47
第四節 小提琴奏鳴曲（一九二七）第三樂章 …………57

第三章 二首小提琴奏鳴曲之演奏技巧分析…………….69

結 語 ……………………………………………………………96

附件一……………………………………………………………99

參考書目…………………………………………………………101

中文
王秋海。 《爵士樂》。台北：揚智文化出版社，1997。
狄羅（Tirro）原著。 《爵士音樂史》共二冊。顧連理 譯。台北：世界文化出版社，1998。
邵義強。 《現代樂派樂曲賞析》。台北：錦繡出版社，2000。
林上懿。 《拉威爾小提琴奏鳴曲之研究分析》。台北：輔仁大學音樂研究所碩士論文，2002。
音樂之友社授權。 《拉威爾》。林勝儀 譯。 台北：美樂出版社，2000。
音樂表演用語辭典編寫組。 《音樂表演用語辭典》。台北：世界文物出版社，1994。
陳藍谷。 《小提琴演奏之系統理論》。台北：全音出版社，1989。
國立編譯館編訂。 《音樂名詞》。台北：桂冠圖書股份有限公司，1994。

西文
Austin, William W. Music in the 20th Century: from Debussy through Stravinsky. New York: Norton, 1966.
Brooks, Donald. Five Great French Composers: Berlioz, César Frank, Saint-Saëns, Debussy, Ravel. London: Salisbury Square, 1947.
Berger, Melvin. Guide to Chamber Music. New York: Doubleday, 1990.
Calvocoressi, M. D. “When Ravel Composed to Order.” Music and Letters 22 (1941): 54-59.
_______, ed. “Ravel’s Letters to Calvocoressi.” Musical Quarterly 27 (1941): 1-19.
Cobbett, Walter, ed. Cobbett’s Cyclopedic Survey of Chamber Music. 2 vols. London: Oxford University Press, 1984.
Cooper, Martin, ed. The Modern Age: 1890-1960. London: Oxford University Press, 1975.
Costantakos, Chris A. Demetrios Constantine Dounis: His Method in Teaching the Violin. New York: Peter Lang, 1997.
Delage, R. “Ravel and Chabrier.” Musical Quarterly 61 (1975): 546-52.
Demuth, Norman. Ravel. Westport: Hyperion Press, 1989.
_______. Musical Trends in the 20th Century. Westport: Greenwood Press, 1975.
Ewen, David, ed. From Bach to Stravinsky: The History of Music by Its Foremost Critics. New York: Norton, 1933.
Flesch, Carl. The Art of Violin Playing. 2 vols. Trans. Frederick H. Martens. New York: Carl Fischer, 1939.
_______. Violin Fingering: Its Theory and Practice. Trans. Boris Schwarz. New York: Da Capo Press, 1966.
Galamian, Ivan. Principles of Violin Playing and Teaching. Englewood Cliffs: Prentice-Hall, 1985.
Gleason, Harold and Warren Becker. Chamber Music from Haydn to Bartok. Bloomington: Frangipani Press, 1980.
Gray, Cecil. A Survey of Contemporary Music. Westport: Greenwood Press, 1972.
Grodner, Murray, ed. Concepts in String Playing. Bloomington: Indiana University Press, 1979.
Havas, Kató. A New Approach to Violin Playing. London: Bosworth, 1990.
Hopkins, G. W., ed. “Maurice Ravel.” in Twentieth-century French Masters. New York: Norton, 1986.
James, Burnett. The Illustrated Lives of the Great Composers: Ravel. New York: Omnibus Press, 1987.
Jankélévitch, Vladimir. Ravel. Trans. Margaret Crosland. Westport: Greenwood Press, 1976.
Jourdan-Morhange, Héléne, and Vlado Perlemuter. Ravel According to Ravel. Trans. Erances Tanner. London: Kahn & Averill, 1990.
Larner, Gerald. Maurice Ravel. London: Phaidon Press, 1996.
Loft, Albram. Violin and Keyboard: The Duo Repertoire. 2 vols. Portland: Amadeus Press, 1991.
Mawer, Deborah, ed. The Cambridge Companion to Ravel. London: Cambridge University Press, 2000.
McCalla, James. Twentieth-Century Chamber Music. New York: Schirmer Books, 1996.
Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: Norton, 1991.
Myers, Rollo H. Ravel: Life and Work. Westport: Greenwood Press, 1977.
The New Grove Dictionary of Music and Musicians (2001). S. V. “Blues,” by Paul Oliver; “Debussy, Claude,” by FranÇois Lesure; “France,” by FranÇois Lesure; “Ravel, Maurice,” by Barbara L. Kelly; “Sonata,” by Paul Grffiths.
Nichols, Roger. Ravel Remembered. New York: Norton, 1987.
Orenstein, Arbie. Ravel: Man and Musician. New York: Dover, 1991.
_______. “Maurice Ravel’s Creative Process.” Musical Quarterly 53 (1967): 467-81.
_______. “Maurice Ravel.” American Scholar 64 (1995): 91-102.
_______. “Some Unpublished Music and Letters by Maurice Ravel.” Music Forum, vol. 3. Ed. William J. Mitchell and Felix Salzer. New York: Columbia University Press, 1973.
_______, ed. A Ravel Reader: Correspondence, Articles, Interviews. New York: Columbia University Press, 1990.
Pereira, Ernest. “Twentieth-Century Violin Technique.” Ph.D. diss., The University of Texas at Austin, 1987.
Priest, Deborah, ed. Louis Laloy (1874-1944) on Debussy, Ravel and Stravinsky. Aldershot: Ashgate, 1999.
Roland-Manuel. Maurice Ravel. London: Dennis Dobson, 1947.
Schachter, Carl, and Edward Aldwell. Harmony and Voice Leading. New York: Harcourt Brace Jobanovich, 1989.
Simms, Bryan R. Music of The Twentieth Century: Style and Structure. New York: Schirmer Books, 1986.
Shera, Frank H. Debussy and Ravel. New York: Oxford University Press, 1951.
Stowell, Robin. The Cambridge Companion to the Violin. London: Cambridge University Press, 1992.
Szigeti, Joseph. Szigeti on the Violin. New York: Dover Publications, 1979.
Ulrich, Homer. Chamber Music: The Growth and Practice of An Intimate Art. New York: Columbia University Press, 1948.
Wen, Eric. “Rare Ravel: Ravel’s ‘other’ violin sonata features in the Ravel.” The Strad 95 (1984): 614-15.
樂譜
Debussy, Claude. Préludes pour piano. Vol. 1. Paris: Durand, 1910.
Ravel, Maurice. Sonata Posthume, Piano et violin. Paris: Edition Salabert, 1975.
_______. Trio pour violon, violoncelle et piano. Paris: Durand, 1915.
_______. Le Tombeau de Couperin. Paris: Durand, 1918.
_______. L’Enfant et les sortileges. Paris: Durand, 1925.
_______. Chansons madécasses. Paris: Durand, 1926.
_______. Sonata pour violon et piano. Paris: Durand, 1927.
_______. Concerto pour piano et orchestre. Paris: Durand, 1932.