佛瑞（Gabriel Faure, 1845-1924）為十九世紀末、二十世紀初法國重要的作曲家。佛瑞一生寫作了大量的鋼琴作品，包括夜曲、船歌、前奏曲、即興曲等。然而，和法國兩位印象派作曲家，拉威爾和德布西相較，佛瑞的鋼琴作品卻極少在法國以外被演奏。這和其一生中只在法國活躍有絕對的關係，也因此，佛瑞可謂當時代法國音樂的代表。
佛瑞自一八七五至一九二一年，共創作了十三首夜曲，涵蓋了他整個創作生涯，而第十三號夜曲，更是佛瑞最後一首鋼琴作品。這些夜曲可依創作時間與寫作風格分成三個階段，第一階段的作品含有費爾德、蕭邦等前人的影子，第二階段為佛瑞嘗試創新的重要時期，第三階段則從原本複雜的曲風轉為簡樸。除了這些顯著差別之外，在三個階段中皆可看到佛瑞音樂本身特有的手法，例如在調性作品融入教會調式及將休止符置於正拍的做法。
本文主要分為三個部分。首先就歷史角度介紹作曲家佛瑞之生平及簡述夜曲之起源、定義與發展。第二部分則分別就佛瑞的十三首夜曲之音樂分期、創作背景與創作手法三個方向探討。最後再就彈奏作品時所會遇到的技巧與詮釋問題加以討論。

Gabriel Faure (1845-1924) was one of the most important composers in the music history of France from the late nineteenth century to the early twentieth century. Faure's output in piano music was abundant, including Nocturnes, Barcarolles, Preludes, and Impromptus. His piano works were rarely performed outside France compared to the works of the two French impressionist composers, Maurice Ravel and Claude Debussy. The reason why Faure received relatively less international attention mainly because he was only active on the musical stage of France and could be regarded as the representative of the French music of the epoque.
In his musical career from 1875 to 1921, Faure composed thirteen nocturnes among which the Nocturne No. 13 was his last piano work. His creation of nocturnes can be divided into three stages according to their time of production and his composing style. Faure's nocturnes in the first stage bore the influences of his predecessors such as John Field and Frederic Chopin. The second stage exhibited the composer's attempt at innovation. The nocturnes in the third stage were marked in style by a shift from exquisiteness to simplicity. Besides these significant differences, the three stages demonstrated Faure's specific techniques, such as the merging of church modes in the tonality of works and inserting rests on downbeat.
This thesis includes three parts and begins with the introduction on Faure’s life and on the origin, definition and development of nocturnes. The second part of the thesis elaborates on each of Faure's thirteen nocturnes in respect to their music periods, background and composing techniques. The discussion on the interpretation and techniques required in the performance of Faure's nocturnes will be the conclusion of the thesis.

一、 前言 --------------------------------------- 1
二、 佛瑞之生平 --------------------------------- 2
三、 夜曲之定義、起源與發展 --------------------- 5
四、 佛瑞夜曲之創作手法 ------------------------- 13
1. 音樂分期 ------------------------------------ 13
2. 創作背景 ------------------------------------ 15
3. 曲式 ---------------------------------------- 16
4. 伴奏音型與織度 ------------------------------ 18
5. 拍號變化 ------------------------------------ 20
6. 節奏型態 ------------------------------------ 23
7. 音階與和弦的使用方式------------------------- 24
五、 佛瑞夜曲之彈奏技巧與詮釋 -------------------- 29
1. 彈奏技巧 ------------------------------------- 29
2. 力度變化 ------------------------------------- 34
3. 彈性速度 ------------------------------------- 40
4. 踏板之運用 ----------------------------------- 41
六、 結語 ---------------------------------------- 46
附錄 ------------------------------------------------- 48
參考書目 --------------------------------------------- 49

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