梅呂哀舞曲繼十七世紀流行於宮廷與貴族中，到了十八世紀則成為大型多樂章器樂曲中的其中一樂章。但在貝多芬眾多的多樂章作品中，梅呂哀舞曲樂章逐漸被詼諧曲樂章所取代，在其鋼琴奏鳴曲中，只包含了十首與梅呂哀舞曲題材相關的樂章。此研究之主要目的在於探討貝多芬鋼琴奏鳴曲中之梅呂哀舞曲樂章，研究方向分為梅呂哀舞曲的歷史沿革、貝多芬鋼琴奏鳴曲中梅呂哀舞曲樂章之樂性與曲式、結論。在梅呂哀舞曲的歷史沿革中討論了歷史發展、舞步及音樂特性﹔在貝多芬鋼琴奏鳴曲之梅呂哀舞曲部分，主要為貝多芬對於此種舞曲在寫作上之創新以及其特色整理，並將這十首梅呂哀舞曲分為三類，分別為「樂曲開頭標示梅呂哀舞曲的作品」、「速度標語標示梅呂哀舞曲」的作品、樂曲及速度皆無標示，但「風格介於梅呂哀舞曲及詼諧曲之間」的作品。最後就先前之討論作整理與總結。貝多芬的鋼琴奏鳴曲中，作品五十四第一樂章後就再沒有梅呂哀舞曲的寫作，甚至其他種類作品也鮮少此類作品。此研究由鋼琴奏鳴曲之梅呂哀舞曲樂章來看貝多芬之梅呂哀舞曲創作，透過曲式、速度、及型態上的分析與歸納，充份可以了解為何貝多芬開始轉而創作限制較少的詼諧曲。

Minuet was one of the popular dances in the court during 17th century. It became one of the multi-movement instrumental music during 18th century. In Beethoven’s multi-movement instrumental music, minuet movement was replaced by scherzo in quite early stage. There are 10 movements in Beethoven’s piano sonatas; those are minuet or music with minuet material. In this thesis, the historical background of minuet is introduced first; in addition the step and the music function are also mentioned. In the 2nd section, the innovation of Beethoven and the characteristic style in these minuet will be discussed; moreover, the minuet movements of Beethoven’s piano sonatas will be divided into three types: (1). The title of the movements is minuet; (2). The tempo mark of the movements is minuet; (3). The style of the movements is between minuet and scherzo. Finally, the conclusion will be given. Beethoven composed minuets rarely after his piano sonata op. 54. From analyzing the music, it should be clear to show the reason why Beethoven yielded his direction from minuet to scherzo.

梅呂哀舞曲的歷史沿革…………………………………………… 1
貝多芬鋼琴奏鳴曲中之梅呂哀舞曲……………………………7
一、 樂曲開頭標示「梅呂哀舞曲」的作品……………………12
二、 速度標語標示「梅呂哀舞曲」的…………………………20
三、 介於「梅呂哀舞曲」與「詼諧曲」風格之間的作品………25

結語……………………………………………………………33
參考書目………………………………………………………34

參考書目
1、外文書目

Benward, Bruce and White, Gary. Music in Theory and Practice Fifth Edition Volume 1. U. S. A.: Wm. C. Brown Communication, Inc., 1993.
Brown, Clive. Classical and Romantic Performing Practice 1750-1900. New York: Oxford University Press Inc., 1999.
Brown, Howard M. & Sadie, Stanley ed. Performance Practice: Music After 1600.
New York: Norton, 1990.
Caplin, W. E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998.
Downs, Philip G., Classical Music: the Era of Haydn, Mozart, and Beethoven. N.Y.:
Norton, 1992.
Gillespie, John. Five Centuries of Keyboard Music. New York: Dover Publications, 1972.
Luxner, M. D. The Evolution of the Minuet/Scherzo in the Music of Beethoven. Ph.D. diss., Eastman School of Music of the University of Rochester, 1978.
Matthews, D. Beethoven Piano Sonatas. London: Aviel Music/BBC Publications,　
1986.
Newman, W. S. The Sonata in the Classic Era. N.Y.: W. W. Norton and Company Inc,. 1983.
-----------. Beethoven on Beethoven- Playing His Piano Music His Way. N. Y.: Norton, 1988.
Nettl, Paul. The Story of Dance Music. N. Y.: Philosophical Library, Inc., 1947.
-------. The Dance in Classical Music. N. Y.: Philosophical Library, Inc., 1964.
Orga, Ates. The Illustrated Lives of the Great Composers-Beethoven. London: Omnibus Press, 1983.
Ratner, Leonard G.　Classic Music: Expression, Form and Style. New York:
Schirmer Books, 1980.
Reichart, Sarah Bennett. The Influence of Eighteenth-Century Social Dance of the Viennese Classical Style. Ph. D. diss., City University of New York, 1984.
Rosen, Charles.　Sonata Forms. New York: W. W. Norton and Company Inc., 1988.
--------. The Classical Style-Haydn, Mozart, Beethoven. New York: W. W. Norton　　
and Company Inc., 1997.
Rosenblum, Sandra P. Performance Practices in Classic Piano Music-Their Principles and Applications. Bloomington: Indian University Press, 1988.
Spring, Glenn and Hutcheson Jere. Musical Form and Analysis. U. S. A.: Wm. C. Brown Communication, Inc., 1995.
Stolba, K. Marie.　The Development of Western Music: A History. Wisconsin: Brown & Benchmark, 1990.
Todd, L. (ed.) Nineteenth- Century Piano Music. New York: Schirmer Book, 1990.
Tyson, A., Kerman, J. The New Grove Beethoven. London : Macmillan, 1983.
Walton, Charles W. Basic Forms in Music. New York: Alfred Publishing Co., Inc., 1974.
Wolff, K. Masters of the Keyboard: Individual Style Elements in the Piano Music of　　　
Bach, Haydn, Mozart, Beethoven, Schubert, Chopin and Brahms. Blooming:　　
Indiana University Press, 1990.
The Oxford Companion to Music. 10th edition. S. v. “Minuet”, S. v. “Sonata”.
The New Grove Dictionary of Music and Musicians(1980).　S. v. "Beethoven" by　　　
Joseph Kerman, Alan Tyson.
----------. S. v. "Minuet" by Meredith Ellis Little
----------. S. v. “Scherzo” by Hugh Macdonald
----------. S. v. “Sonata” by Sandra Mangsen, John Irving, John Rink, Paul Griffiths.

2、中文書目

丁逢辰 譯，論析貝多芬32首鋼琴奏鳴曲。(台北市﹕大呂出版社，民國八十三)。
張淑懿 譯，貝多芬全部鋼琴作品的正確奏法。(台北市︰全音樂譜出版社，民國八十七年)
胡小萍 著，巴赫鍵盤舞曲-歷史、形式、風格、演奏之探究。(台北市︰小雅音樂有限公司，民國九十一年)
錢南章，奏鳴曲創作原理。(台北市﹕中國文化大學出版部，民國七十三年)。
林勝儀 譯，作曲家別 名曲解說珍藏版3-貝多芬/ 音樂之友社編。(台北市︰美樂出版社，民國八十八年)
Roger Kamien 著，王美珠等譯。音樂認識與欣賞。(台北：美商麥格羅•希爾國際股份有限公司，民國九十三年)
葉綠娜等 譯，西洋音樂百科全書﹕牛津音樂辭典(上、下集)。(台北市﹕台灣麥克股份有限公司，民國八十五年)。
洪萬隆 編，黎明音樂辭典。(台北市﹕黎明文化事業股份有限公司，民國八十三年)。


3、中文期刊

彭聖錦，探討貝多芬鋼琴奏鳴曲之原始構想與實際演奏。古典音樂 ，卷49，民國八十七年，頁124-139。
--------，探討貝多芬鋼琴奏鳴曲之原始構想與實際演奏。古典音樂，卷60，民國八十八年，頁66-75。

4、樂譜

Beethoven, Ludwig van. Complete Piano Sonatas. Artur Schnabel (ed.) Milano: Edizioni Curci S. r.1.
Beethoven, Ludwig van. Sonatas for the Pianos. Bülow-Lebert .New York: G. Schirmer, Inc.
Beethoven, Ludwig van. Piano Sonata I. New York: Universal Edition (Urtext).

5、網站

http://www.colonialmusic.org/Resource/howtoMIN.htm