此研究藉由對於裝飾樂段的歷史起源及發展作為起始，進而探討莫札特的裝飾樂段，並以其第十七號鋼琴協奏曲作品四五三為藍本，研究其第一樂章之協奏曲式及裝飾樂段之架構，進而就莫札特所做的裝飾樂段與其他作曲家約翰斯•布拉姆斯（Johannes Brahms,1833-97）、費魯其歐•布梭尼（Ferruccio Busoni , 1866-1924）、恩司特•望•杜赫南宜（Ernst von Dohnanyi ,1877-1961）及艾德恩•費歇（Edwin Fischer,1886-1960）所做的裝飾樂段與莫札特之裝飾樂段比較，同時分析其架構，嘗試瞭解每個不同演奏家在寫作自己的裝飾樂段時的樂思。
莫札特大部分的裝飾樂段，都可明確的將其分為三段體，首先，第一段包含兩部分，先以取自於協奏曲樂章中的主題開始，接著以炫技的音型引領至第二段，通常這些音型在之前樂章中即以熟知，有時也可能是新的素材。第二段持續發展協奏曲樂章中重要的主題或動機，大部分會在持續的低音或和弦上做，第三部分是一些炫技的音型裝飾，通常最後會以震音做結束。
十九及二十世紀，大部分演奏者在演奏莫札特鋼琴協奏曲時，較少使用莫札特所寫的裝飾樂段，而是以自己的裝飾樂段取代之，事實上，若以歷史文獻及演奏法的角度來看，這些裝飾樂段通常已不符合莫札特的風格，因此當演奏者決定演出莫札特協奏曲時，該如何選擇及創作裝飾樂段成為必要的思考，主要有幾個方向：如何選擇符合風格的裝飾樂段？如果寫作自己的裝飾樂段，如何使它聽起來像莫札特的風格？然而，時代背景及個人演奏風格的不同都會使思考方向受到動搖，因此，個人的品味將會深深影響裝飾樂段，造成裝飾樂段之多樣化面貌，或許這正是其有趣的地方！

This thesis begins with the origin and development of cadenza. Then the structure of W.A.Mozart’s cadenza is discussed. Mozart’s Piano Concerto K.V.453 first movement is used as an example to explain the ritornello form and the cadenza structure. Finally, those of other composers, such as Johannes Brahms (1833-97), Ferruccio Busoni (1866-1924), Ernst von Dohnányi (1877-1961) and Edwin Fischer (1886-1960), their cadenzas for K.V.453 first movement will also be analyzed and compared.

Most of Mozart’s cadenzas can be analyses as three-part form: The first part starts either themes from the concerto movement or virtuoso runs which appeared in the movement before or newly invented. The second part usually over a sustained bass note or chord continually develops sequences of an important theme or motive from the concerto movement. This will leads into the third part with a number of virtuoso runs, passages in thirds, etc., until the close of the cadenza which usually ends with a long trill.

During the 19th and 20th centuries, performers performed Mozart Piano Concerto, seldom adopted the cadenza of Mozart's. Rather, they would replace Mozart's cadenza with those written by themselves. Those cadenzas according to the treatises and Mozart’s own cadenzas usually did not have the so-called “Mozart's style”. Because the authenticity movement of performing early music in the late 20th, when a performer decides to perform Mozart Piano Concerto, it becomes very important for him to figure out how to choose or create the proper cadenza for himself to perform. Yet, the change of time with different personality and style will influence the result of creating and performing a cadenza. Maybe this is one the main reason that make the cadenza so very and interesting always.

目 錄
前言……………………………………………………1
裝飾樂段之起源發展…………………………………1
莫札特協奏曲第一樂章之曲式架構探討……………6
莫札特裝飾樂段架構之探討…………………………11
莫札特協奏曲作品四五三第一樂章裝飾樂段之探討16
探討布拉姆斯、布梭尼、杜赫南宜及費歇
為作品四五三第一樂章所做之裝飾樂段……………25
結論……………………………………………………33
附錄……………………………………………………35
1、莫札特協奏曲，作品四五三，第一樂章，第一裝飾樂段
2、莫札特協奏曲，作品四五三，第一樂章，第二裝飾樂段
3、布拉姆斯為協奏曲作品四五三第一樂章所做之裝飾樂段
4、布梭尼為協奏曲作品四五三第一樂章所做之裝飾樂段
5、杜赫南宜為協奏曲作品四五三第一樂章所做之裝飾樂段
6、費歇為協奏曲作品四五三第一樂章所做之裝飾樂段
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