十九世紀的音樂不論是在創作或是演出形式上皆有很大的變化，代表小提琴演奏技巧的創作以協奏曲為主，經由各小提琴學派的鑽研和擴展，進而發展出不一樣的風格。布魯赫身為德國後浪漫時期重要的作曲家，雖然地位不如舒曼、孟德爾頌和布拉姆斯等人一樣崇高，但是他的作品第二十六號《G小調第一號小提琴協奏曲》卻廣受歡迎，引發欲探討的動機。這首作品在十九世紀眾多的小提琴協奏曲中，至今能夠一直被保留在音樂會的曲目和小提琴演奏者的必備曲目中，可謂是相當重要的一首小提琴協奏曲。最成功的地方就是布魯赫運用許多演奏技巧結合在他特有的音樂性當中，也就是他的堅持：「旋律是音樂的靈魂」，徹底展現小提琴優美歌唱性的本質，使得此作品能夠歷久不衰，其音樂價值不輸給當時浪漫樂派其他著名的小提琴協奏曲。
本文共分成三個章節，第一章探討小提琴在演奏技術上的傳承，以及各小提琴學派對於小提琴音樂的影響，並針對小提琴協奏曲的特色加以闡述；第二章為布魯赫之生平背景介紹，闡述作品第二十六號的創作背景、手法及地位；第三章針對本作品之演奏技巧作進一步的研究，並分別詳述左、右手遇到的困難技巧，而後根據實際演練的狀況，舉例說明在演奏此作品須注意的地方；最後對研究之內容作總結。藉由對此作品的研究，期望演奏者在拉奏這首樂曲時，不只是將演奏技巧展現出來，而更能夠準確的表達出作曲家的音樂意念。

This study provides an overall view of the significant change in compositional creation and performance practices in the nineteenth century. One witnesses concerto has become an important genre to demonstrate the technical playing of violin. In addition, through various violin schools, violin performances have developed different styles of playing. Bruch was an important German composer in the late romantic period. Although his status is not sublime as Schumann, Mendelssohn and Brahms, his “Violin Concerto No. 1 in G minor Op. 26” is well received. Among numerous violin concertos in the nineteenth century, the work is regarded as an essential piece for violinist and in fact up to the present the work has been often performed and included in most concert programs. The most significant in Bruch’s music is his employment of different performance techniques together with beautiful violin voicing. He believes “melody is the soul of music” and demonstrates with his individual performance, and this explains the long lasting character. The value of Bruch’s music is equal fame of the composition well regarded as his contemporaries.
This thesis is divided into three chapters. The First chapter discusses about the succession of the violin performance technique, the influences of violin schools on violin music, and elaboration of the violin concerto features. The Second chapter includes Bruch’s life, the historical background of his Op. 26 and its status. The Third chapter focuses on the performance techniques, examine the sophisticated techniques on both right hand and left hand. Its incorporation with orchestra will also be discussed in this chapter. And followed by a conclusion. Through the research of this work, author, hopefully, could help violinists will not only focus on the technique stage but also convey the idea of the composer more accurately while playing this work.

摘 要 II
ABSTRACT III
目 錄 IV
前 言 1
第一章 十九世紀小提琴協奏曲的發展 3
第一節 十九世紀小提琴學派的發展 3
第二節 小提琴協奏曲的發展及特色 11
第二章 布魯赫的小提琴協奏曲 21
第一節 布魯赫生平概述 21
第二節 作品第二十六號的創作背景及手法 24
第三節 作品第二十六號的地位 34
第三章 作品第二十六號之演奏技巧探討 36
第一節 右手運弓技巧之探討 36
第二節 左手技巧的探討 46
第三節 實際演練探討 59
結 語 72
參考文獻 74
附錄一 布魯赫作品表 77

西文書目
Blume, Friedrich. Classic and Romantic Music. New York: W. W. Norton & Company, 1970.
Bonavia, F. “The Violin Concerto.” Music & Letters 8, no.2, Beethoven. (Apr., 1927): 198-200.
Berger, Melvin. The Anchor Guide to Orchestral Masterpieces. New York: Anchor Books Doubleday, 1995.
Boyden, David D. “The Violin and Its Technique in the 18th Century.” The Musical Quarterly 36, no.1 (Jan., 1950): 9-38.
Brown, Clive. “Bowing Styles, Vibrato and Portamento in Nineteenth-Century Violin Playing.” Journal of the Royal Musical Association 113, no.1. (1988): 97-128.
Carse, Adam. The History of Orchestration. New York: Dover Publication, 1964.
Daverio, John. Nineteenth-Century Music and the German Romantic Ideology. New York: Schirmer Books, 1993.
Downes, Edward. Guide to Symphonic Music. New York: Walker, 1976.
Emery, Frederic B. The Violin Concerto Vol.2. New York: Da Capo Press, 1969.
Fifield, Christopher. Max Bruch: His Life and Works. New York: George Braziller, 1988.
Finson, Jon W. “Performing Practice in the Late Nineteenth Century, with Special Reference to the Music of Brahms.” The Musical Quarterly 70, no.4. (Autumn, 1984): 457-75.
Galamian, Ivan. Principles of Violin Playing & Teaching. Ann Arbor, Michigan: Shar Products Company, 1985.
Joachim, Henry. “Joseph Joachim: First Violinist of a Modern Art.” The Musical Times 74, no.1087. (Sep., 1933): 797-99.
Keefe, Simon P. The Cambridge Companion to the Concerto. New York: Cambridge University Press, 2005.
Kolneder, Walter. The Amadeus Book of The Violin. Portland: Amadeus Press, 1998.
Plantinga, Leon. Romantic Music. New York: W. W. Norton & Company, 1984.
Rink, John. Musical Performance. New York: Cambridge University Press, 2002.
Roeder, Michael Tomas. A History of the Concerto. Portland: Amadeus Press, 1994.
Schwarz, Boris. “Beethoven and the French Violin School.” The Musical Quarterly, 44 (Oct., 1958): 431-47.
Steinberg, Michael. The Concerto: A Listener’s Guide. New York: Oxford University Press, 1998.
Szigeti, Joseph. Szigeti in the Violin. New York: Dover Publications, 1979.
Veinus Abraham. The Concerto. New York: Doubleday, 1944.
The New Grove Dictionary of Music and Musicians (2001) S. V. “Bruch, Max” by Christopher Fifield.


中文書目
音樂之友社，《協奏曲》，林勝儀譯。台北市：美樂出版社，1997。
李哲洋，《最新名曲解說全集》〈第十二冊協奏曲〉。台北市：大陸書店，1988。
羅賓•史托威（Robin Stowell）。《小提琴指南》，湯定九譯。台北市：世界文物出版社，1996。
卡爾•弗萊什（Carl Flesch）著。《小提琴演奏之藝術》，馮明譯。台北市：黎明文化事業公司，1985。
林佳妮，《布魯赫G小調第一號小提琴協奏曲》。碩士學位詮釋報告：台灣師範大學，1999。
雷波•奧爾（Leopold Auer），《我的小提琴演奏教學法》（Violin Playing as I Teach It），司徒華城譯。台北市：世界文物出版社，1998。
康貝爾（Margaret Campbell），《不朽的小提琴家》，張世祥譯。台北市：世界文物出版社，1998。
陳藍谷，《小提琴演奏統合技術》。台北市：美樂出版社，2005。
陳麗絹，《威尼阿夫斯基第二號小提琴協奏曲之分析與教學研究》。碩士學位詮釋報告：中山大學，2002。
顏子瑋，《魏奧當第五號A小調小提琴協奏曲作品分析與演奏技巧之探討》。碩士學位詮釋報告：中山大學，2003。
史坦利•薩廸（Stanley Sadie），《劍橋音樂入門》，孟憲福譯。台北市：果實出版，2004。
李宜嬪，《探討德奧音樂出版業發展與古典樂派室內樂曲及獨奏曲之創作。》碩士學位詮釋報告：中山大學，2003。
樂譜
Bruch, Max. First Violin Concerto and Scottish Fantasy. New York: Dover, 1994.
Bruch, Max. Concerto in G minor op. 26. Frankfurt: Edition Peters, 1949.