本研究共分為五個章節。第一章為背景探討，涵蓋了十七世紀之後的法國鍵盤樂發展情形、重要作曲家及其創作風格。第二章主要介紹西薩•法朗克的音樂成長歷程及重要作品之創作。第三章則是以創作風格為依據，分為兩個時期討論法朗克鋼琴音樂。第四章主要討論法朗克鋼琴作品的特殊創作手法，包含其所受到巴洛克時期複音對位音樂傳統之影響、聯篇曲式、鋼琴作品中的樂句結構及慣用的和聲語彙等。第五章分別討論《前奏曲，聖詠曲與賦格曲》及《前奏曲，抒情曲與終曲》的創作架構及其特殊手法在此兩曲中的運用情形。最後為結語，為全文作一總結之說明。

法朗克可說是十九世紀最重要的法國鋼琴作曲家之一
，《前奏曲，聖詠曲與賦格曲》與《前奏曲，抒情曲與終曲》並列為其最重要的兩首鋼琴作品，充分展現出法朗克的音樂創作特色，可說為其鋼琴音樂寫作拓展了新的境地
，並對許多作曲家造成極為深遠的影響。

The thesis consists of five chapters. Chapter One is the discussion of background, including the development of keyboard music after 17th century in France, and famous composers with their styles of creation. Chapter Two focuses on César Franck’s developmental track of music and his creation of masterpieces. Chapter Three depends on compositional style, dividing into two periods to discuss Franck’s piano music. Chapter Four mainly introduces Franck’s unique creative technique of piano music, featuring the traditional influence from polyphonic and contrapuntal music in Baroque era, cyclic form, phrasing structure and harmonic language. Chapter Five separately discusses formal structure and characteristic features in Prélude, Chorale et Fugue and Prélude, Aria et Final. Finally, we make a conclusion for the whole research.

In 19th century, Franck was one of the most important piano composers in France. Prélude, Chorale et Fugue and Prélude, Aria et Final were his most important works, sufficiently presenting Franck’s distinguished compositional style. They opened not only a new field for his composite of piano music, but also brought deep influence on many following composers.

序 論………………………………………………………1

第一章 背景探討…………………………………………6

第二章 法朗克之音樂成長歷程…………………………9

第三章 法朗克之鋼琴音樂創作…………………………17
第一節 法朗克早期鋼琴作品……………………17
第二節 法朗克晚期鋼琴作品……………………26

第四章 法朗克之鋼琴作品創作風格……………………27
第一節 巴洛克時期複音對位音樂傳統之影響…27
第二節 聯篇曲式…………………………………32
第三節 樂句結構及和聲語彙……………………35

第五章 法朗克重要鋼琴作品解析………………………43
第一節 《前奏曲，聖詠曲與賦格曲》…………43
第二節 《前奏曲，抒情曲與終曲》……………64

結 論 ……………………………………………………78

參考書目 …………………………………………………81

Abraham, Gerald, ed. The New Oxford History of Music. Vol. 9, Romanticism (1830-1890). London : Oxford University Press, 1990.

Caballero, Carlo. Fauré and French Musical Aesthetics. Cambridge:Cambridge University Press, 2001.

Cortet, Alfred. French Piano Music. Translated by Hilda Andrews. New York: Da Capo Press, 1977.

Crocker, L. Richard. A History of Musical Style. New York:Dover Publications, 1966.

Deathridge, John, and Carl Dahlhaus. The New Grove：Wagner. London : Papermac, 1984.

Franck, César. Prélude, Choral et Fugue. Edited by Ernst-Günter Heinemann. München:G. Henle Verlag, 1995.

Franck, César. Selected Piano Compositions. Edited by Vincent D'Indy. New York: Dover Publications, 1976.

Gillespie, John. Five Centuries of Keyboard Music : an Historical Survey of Music for Harpsichord and Piano. New York:Dover Publications, 1972.

Hall, Leland. “Franck.” In From Bach to Stravinsky. Edited by David Ewen. UMI:1996.

Kirby, F. E. Music for Piano : a Short History. Portland : Amadeus Press, 1995.

Kirkendale, Warren. Fugue and Fugato: In Rococo and Classical Chamber Music. Durham: Duke University Press, 1979.

Letňanová, Elena. Piano Interpretation in the Seventeenth, Eighteenth and Nineteenth Centuries : A Study of Theory and Practice Using Original Documents. London: McFarland Publications, 1991.

Newman, William. Beethoven on Beethoven: Playing his Piano Music in his Way. New York : Norton, 1988.

Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth-Century Europe. New York: Norton, 1984.

Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge: Belknap Press, 1986.
Ratner, Leonard. G. Classic Music, Expression, Form and Style. New York : Schirmer Books, 1980.

Renwick, William. Analyzing Fugue. New York: Pendragon Press, 1958.

Schulenberg , David. The Keyboard Music of J. S. Bach. New York : Schirmer Books, 1992.

Silbiger, Alexander, ed. Keyboard Music before 1700. New York : Schirmer Books, 1995.

Smith, Rollin. Playing the Organ Works of César Franck. New York: Pendragon Press, 1996.

Stolba, K. Marie, ed. The Development of Western Music: An Anthology. Iowa : Wm. C. Brown, 1991.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Benoist, François.” By Hugh Macdonald.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Casella, Alfredi.” By John C.G. Waterhouse.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Cyclic Form.” By Hugh Macdonald.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Dalayrac, Nicolas-Marie.” By David Charlton.

The New Grove Dictionary of Music and Musicians (1980). S.v. “David, Félicien.” By Hugh Macdonald.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Eckard, Johann Gottfried.” By Herbert C. Turrentine.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Fischer, Johann Caspar Ferdinand.” By Susan Wollenberg.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Franck, César.” By John Trevitt.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Fugue.” By Roger Bullivant.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Grétry, André Ernest Modest.” By José Quitin.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Prelude.” By Howard Ferguson.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Schobert, Johann.” By Herbert C. Turrentine.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Schenker, Heinrich.” By Allen Forte.

The New Grove Dictionary of Music and Musicians (1980). S.v. “Zimmermann, Pierre-Joseph-Guillamme.” By Frédéric Robert.

Thieffry, Jeanne. Alfred Cortot’s Studies in Musical Interpretation. Translated by Robert Jaques. New York:Da Capo Press, 1989.

Todd, R. Larry, ed. Nineteenth-Century Piano Music. New York:Schirmer Books, 1990.

Williams, Peter. The Chromatic Fourth during Four Centuries of Music. Oxford: Clarendon Press, 1997.

王沛綸主編。 《交響曲主題》。台北市：全音樂譜出版社，民國七十五年。

李哲洋主編。 《最新名曲解說全集》。第三版。台北市：大陸書店，民國八十四年。

林勝儀譯。 《鋼琴曲》。台北市：美樂出版社，民國八十六年。