十九世紀末著名鋼琴演奏家布梭尼，改編曲的創作是畢生重要的貢獻之一，其中最令人讚賞的是他將巴赫鍵盤作品重新改編成為富有炫技效果之樂曲。經過歲月的洗禮，巴赫＜夏康舞曲＞的音樂依然受到歡迎，致使許多作曲家相繼為此首作品進行改編。一八九三年，布梭尼將巴赫著名之無伴奏小提琴第二號組曲＜夏康舞曲＞改編為鋼琴版本，並題獻給鋼琴家達伯特 (Eugen d’Albert, 1864-1932)，是眾多改編版本中最常被演出的。
本論文旨在論述巴赫－布梭尼《夏康舞曲》之改編手法，分為三大方向探討之：第一章背景探討部分，說明布梭尼與巴赫音樂作品的關聯性，並針對巴赫組曲中之＜夏康舞曲＞作一概略性的介紹。第二章針對巴赫－布梭尼《D小調夏康舞曲》中之織度進行分析。第三章進一步討論布梭尼改編手法之特色，此章分為兩部份：首先針對布梭尼承襲巴赫原創作品的特色進行說明，第二部份則論述布梭尼不同於巴赫原創作品之特色，包含：薩拉邦節奏之突顯、管風琴音響色彩之加入、八度音程之使用以及音域轉換等改編手法。
布梭尼在創作上雖是遵循巴赫之原創作品，但他卻在這舊有的框架中，不僅加入鋼琴炫技技巧、踏板、力度、音域變化，以及表情術語，也藉由管風琴音響色澤的加入，達到模仿樂器音色之效果；其利用鋼琴來呈現交響化之概念，也成為布梭尼改編為鋼琴版本最主要之特質。

Busoni was one of the most celebrated pianists of late nineteen century. Besides his wonderful performing, his virtuosic transcriptions of Bach compositions contribute to Romantic piano repertoire. Through years, the music of Bach still popular on stage, and inspires many composers transcribe his works to other instruments. In 1893, Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor and dedicated it to the pianist Eugen d'Albert. Today, among the numerous versions, Bach-Busoni Chaconne is most often performed.
This thesis mainly discuss the arrangement of Bach-Busoni Chaconne, and divided three main directions. The first part, concentrated on background research and investigated on correlation between Busoni’s and Bach’s Chaconne in D minor. In second part, aimed at the analysis of texture in Bach- Busoni. In third part, discussed the features of the original works which Busoni inherited from Bach, and the differences between Busoni’s work and Bach’s original work. The differences are divided into the emphasis on sarabande, the imitate colors of the pipe organ with sound effects, the usage of octave, and different register.
Busoni followed closely to Bach’s original work; he not only added virtuosic passages, pedal usage, dynamic change, different register, but also gave expression terms to reach the result of imitate the quality of orchestra and pipe organ. The Chaconne in Busoni’s hand became a piano piece with great Romantic spirit in it.

目次

前言 1
第一章 背景探討
第一節 布梭尼之生平 3
第二節 布梭尼與巴赫 5
第三節 十九世紀之鋼琴改編曲 7
第四節 巴赫第二號無伴奏小提琴組曲之《D小調夏康舞曲》9

第二章 巴赫－布梭尼《D小調夏康舞曲》中織度之分析
第一節 聖詠式主題 15
第二節 抒情式之旋律 17
第三節 觸技曲之織度 19

第三章 布梭尼《D小調夏康舞曲》之改編手法
第一節 承襲巴赫原創作品之特色
一. 吉他音樂之模仿22
二. 合奏與獨奏之織度 26
第二節 不同於巴赫原創作品之特色
一. 新增加之段落 30
二. 薩拉邦節奏之突顯 32
三. 管風琴之影響 35
（一）管風琴音響色彩之影響 36
1.樂器音色之模仿 36
2.利用踏板記號之標示來展現音色變化 39
（二）模仿管風琴低音域色彩 41
四. 八度音程之使用與音域的轉換 43
五. 添加對位旋律 46
結語 48
參考文獻 50
附錄 52

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樂譜
Ferruccio Busoni, Toccata And Fugue in D Minor And The Other Bach Transcriptions for Solo Piano. New York: Dover Publications, 1996.
CD
Thoene, Helga. “A Secret Language- Hidden Chorale Quotations in J.S.Bach’s ‘Sei Solo a Violino’,” in the CD jacket of Morimur ECM Records Gmbh, 2001.