巴洛克時期的大提琴家以練習為目的所創作的雙大提琴作品，開啟了大提琴合奏歷史的開端。之後，有關大提琴合奏的作品並不多，直到浪漫時期，大提琴合奏的音響效果逐漸吸引作曲家的喜好，紛紛於歌劇及交響作品中採用此一編制。二十世紀之後，大提琴合奏的原創作品與日俱增，且風格多元，樂曲的難度也在大提琴技巧不斷地提升之下漸趨困難。
維拉─洛伯斯為二十世紀巴西著名的作曲家，畢生受委託而創作大量的作品，其成熟時期的風格特色，主要以使用母國之民族音樂素材為其創作元素。作曲家於一九三○年代創作的《巴赫風巴西組曲》，便是將傳統音樂曲式與巴西人民所熟悉的民族素材相結合，在聊表愛國情操之餘，也同時達到教育的意義。此曲兼具獨創性與技巧性，因此在大提琴合奏原創作品中佔有一席之地。
本研究將以巴西作曲家維拉─洛伯斯的大提琴合奏作品《巴赫風巴西組曲第一號》為主軸，分別探討維拉─洛伯斯之生平、《巴赫風巴西組曲第一號》創作背景以及巴西民族音樂素材在樂曲中的運用，並在提供大提琴合奏此一曲種的基本背景後，探討樂曲中的演奏技巧及音樂詮釋。希望藉由本研究可更深入地洞悉《巴赫風巴西組曲第一號》的創作背景、手法及涵義，並且對於大提琴合奏的曲目與實際演奏有更進一步的了解。

The music for cello duets was first composed in the Baroque period, later it was named the cello choir. Thus, these beginnings of cello choir compositions were primarily relegated to Baroque, with only a few pieces composed until the Romantic period. It was at this point in history that we find that musicians and composers began to develop interest in the unique sound of the cello choir. Since then, a great amount of operas and other musicals have been composed with the featuring of cello choir as a part their soundtrack. As a result, the music of the cello choir has moved forward to a new colorful era, with the nuances of the music branching into various types of associations with various professional playing techniques.
Heitor Villa-Lobos is one of the most famous 20th century composers of the Brazil. During his maturation period, his works integrated the Brazilian style as a central theme of his music. The Bachianas Brasileiras, composed in the 1930’s, had great profitable combination of the new-age national music with more traditional forms. In addition, this new trend of music successfully represented both educational and patriotic movements, as it required the uniqueness associated with the profound techniques that established the importance of cello choir in the piece.
This study is proposed to discover the valuable information in playing the cello choir music based on analyzing the Bachianas Brasileiras No. 1. The study begins by describing the composer’s life experiences and the background of the period in the 1930’s. The research will emphasize how the Brazilian music has been amalgamated and how to interpret it in order to enhance performance.

中文摘要…………………………………………………………………ⅱ
英文摘要…………………………………………………………………ⅲ
目錄………………………………………………………………………ⅳ
前言………………………………………………………………………1
維拉─洛伯斯生平概述…………………………………………………2
《巴赫風巴西組曲》之創作背景………………………………………8
《巴赫風巴西組曲第一號》巴西素材之運用…………………………14
《巴赫風巴西組曲第一號》之演奏詮釋………………………………23
結語………………………………………………………………………54
參考文獻…………………………………………………………………56
附錄一：維拉─洛伯斯大提琴作品列表………………………………58
附錄二：莊翔筑解說音樂會節目單……………………………………59

西文書目
Antonov, Ivan M. “A Catalogue of Twentieth-Century Cello Ensemble Music.” Ph. D. diss., Louisiana State University, 2005.
Appleby, David P. Heitor Villa-Lobos: A Llife ( 1887-1959). Boston: Scarecrow Press, 2002.
Cowling, Elizabeth. The Cello. London: B. T. Batsford Ltd., 1983.
Gates, Eunice J. “Brazilian Music.” Hispania. 22, no. 2 (1939): 129-134.
Kostka, Stefan M. Materials and Techniques of Twentieth-Century Music. New Jersey: Pearson Prentice Hall, 2006.
Livingston-Isenhour, Tamara, and Thomas George. Choro: A Social History of a Brazilian Popular Music. Indianapolis: Indiana University Press, 2005.
Mantel, Gerhard. Cello Technique: Principles and Forms of Movement. Trans. Barbara H. Thiem. Indiana: Indiana University Press, 1995.
Mariz, Vasco. Heitor Villa- Lobos Life and Work of Brazilian Composer. Washington, D.C. : Brazilian American Cultural Institute, 1970.
Murphy, John P. Music in Brazil. New York: Oxford University Press, 2006.
Peppercorn, Lisa M. Villa-Lobos: The Music: An Analysis of His Style. Trans. Stefan de Hann New York: Pro/Am Music Resources,1991.
--------. Villa-Lobos Collected Studies. Brookfield: Scolar Press, 1992.
--------. The World of Villa-Lobos in Pictures and Documents. Brookfield: Scolar Press, 1996.
Prieto, Carlos. The Adventures of a Cello. Trans. Elena C. Murray. University of Texas Press, 1998.
Round, Michael. “ ‘Bachianas Brasileiras’ in Performance.” Tempo, New Ser., no. 169 (1989): 34-41.
Savill, Roy. “Music in Brazil.” Tempo, New Ser., no. 37 (1955): 31-33.
Stowell, Robin, ed. The Cambridge Companion to the Cello. New York: Cambridge University Press,1999.
The New Grove Dictionary of Music and Musicians (2001), S. V. “ Barrière, Jean ” by Mary Cyr.
The New Grove Dictionary of Music and Musicians (2001), S. V. “ Brazil ” by Gerard Béhague.
Veloso, Caetano. Tropical Truth: A Story of Music and Revolution in Brazil. Trans. Isabel de Sena New York : Alfred A. Knopf, 2002.
Wright, Simon. Oxford Studies of Composers Villa-Lobos. New York: Oxford University Press, 1992.
--------. Villa-Lobos. New York: Oxford University Press, 1992.
Yi-Shien, Lien. “ Tradition and Innovation: Analysis and Performance of Selecved Compositions for Violoncello by Heitor Villa- Lobos.” Ph. D. diss.,University of Maryland, 2003.
中文書目
康貝爾（Margare Campbell）。《不朽的大提琴家》，張世祥譯。台北：世界文物，民國85年。
佩伯孔恩（Lisa Peppercorn）。《偉大作曲家群像：維拉─羅伯斯》，李君豪譯。台北：智庫文化，民國85年。
樂譜
Alves, Bill. California Mabommay for Eight or More Cellos. California: National Cello Institute, 1993.
Bach, Johann S. Brandenburg Concerto # 6 for Cello Sextet. California: Latham Music, Ltd., 1991
Debussy, Claude. La Mer. New York : Edition Eulenburg, 1983.
Kibbe, Michael. Dark Moon, Op.135. California: National Cello Institute, 2001.
Mores, Mariano, Werner Thomas-Mifune arr. Three Argentinean Tangos for 6 Cellos. Adliswil: Edition Kunzelmann, 1999.
Puccini, Giacomo. Toscca. New York : Dover Publications, 1992.
Rossini, Gioachino. William Tell Overture. New York : Edition Eulenburg, 1986.
Verdi, Giuseppe. Otello. New York : Dover Publications, 1986.
Villa-Lobos, Heitor. Bachianas Brasileiras No. 1 for Orchestra of Violoncelli. New York: Associated Music Publishers, Inc., 1948.
Wagner, Richard. Die Walküre. New York : Dover Publications, 1978.