馬克斯•雷格為十九世紀末至二十世紀初期的作曲家。在這過渡時期，由於華格納高度半音化的使用，給予音響上一個新的震撼。首先和聲瓦解，接著影響至節奏、音響與織度等元素依序作解放。
身處在這不安音樂環境的雷格，其音樂風格屬保守，但對於不協和音響等現代元素並不排斥，作品中會運用半音階，但不到破壞調性的程度，甚至於一九O三年出版一本基礎理論的專書，其內容為探討半音主義與現代轉調之手法。雷格於一九一五年後，音樂風格更為精煉，即使作品受當時樂評家的抨擊，但卻不影響他在複音音樂上的發展。雷格作品的價值於二十世紀漸漸被後人所認同，認為其模仿巴哈並不因表面的手法使用，而是有更深一層的意義---利用新時代的精神，將較古老的藝術風格重新介紹給世人認識。因此，一作品或一作曲家所代表的藝術價值，並不受時代所限制與束縛。
本研究分為三個部分做闡述，第一章為十九世紀末期德國音樂的發展，第二章為雷格的生平概述與音樂風格建立，第三章為雷格《第二號無伴奏大提琴組曲》之創作手法探討。盼藉由此研究讓筆者對於此作品能更了解，於演奏上可更貼近作曲者的原意，並融合個人風格。

Max Reger is a composer who lived between the end of the nineteenth century and the early years of the twentieth century. There were shocking new sounds in music due highly to using chromaticism of Wagner. Harmonies within music collapse, which in turn influences rhythms, sounds and textures emancipated gradually.
The music style of Reger which has been compared to the contemporary music environments was more conservative, but he also tried to use modern elements such as dissonant harmonies. However, his inclusion of these elements wouldn’t interfere with the tonality itself. In 1930, he published a treatise on a basic theory which contained chromaticism and skills of modern modulations. In fact, his music style has become refined since 1915. It was still criticized by contemporary critics of music, but this didn’t influence the development of the polyphonic music of Reger. Afterwards, the value of Reger’s work was gradually recognized in the twentieth century. People thought that his pieces imitating the model of Bach’s music had significant meaning and used the spirit of modern day to introduce the ancient music to the world rather than being overly ostentatious. Thus, we know that the art value of a composer and their work cannot be confined to the people and the times that they live in.
The lecture-recital discourse includes three main parts. The first and second
chapters summarize the development of German music in nineteenth century and the
personal review of Reger and his music style. The third chapter gives an analysis
on techniques of the “Cello Suite, Op. 131c, No. 2”. More importantly, it would make the writer understand it more and interpret closed to the original meaning of Reger with my personal style.

前言 ------------------------------------------------------------ 1

第一章 十九世紀末期德國音樂的發展 -------------------- 2

第二章 雷格的生平概述與音樂風格建立------------------ 7

第三章 雷格《第二號無伴奏大提琴組曲》之創作手法探討 ----------------------------------------------------------------- 16

結論 ----------------------------------------------------------- 44

參考書目 ------------------------------------------------------------------------ 45

(一) 西文資料
Anderson, Christopher. “Reger in Bach's Notes: On Self-Image and Authority in Max
Reger's Bach Playing.” The Musical Quarterly, no. 4 (Winter, 2004), 749-70.
¬¬¬______. Selected Writings of Max Reger. New York: Routledge, 2006.
Bittmann, Antonius. “Brahms, Strauss, Sheep and Apes: Reger's ‘Heoric’Struggle with Tradition.” The Musical Quarterly, no. 4 (Winter, 2004), 708-31.
¬______ .“Reconciling God and Satan: Max Reger's Phantasie und Fuge uber den Namen B-A-C-H, op. 46.” The Journal of Musicology , no. 3 (Summer, 2001), 490-515.
Botstein, Leon. ” History and Max Reger.” The Musical Quarterly, no. 4 (Winter, 2004), 616-27.
Brinkmann Reinhold. “A ‘Last Giant in Music’: Thoughts on Max Reger in the Twentieth Century.” The Musical Quarterly, no. 4 (Winter, 2004), 631-59.
Frisch, Walter. “The Music of Max Reger.” The Musical Quarterly, no. 4 (Winter, 2004), 628-30.
______. “Reger's Historicist Modernism.” The Musical Quarterly, no. 4 (Winter, 2004), 732-48.
______. “Reger's Bach and Historicist Modernism.” 19th-Century Music, no.2 (Autumn 2001- Spring 2002), 296-312.
Harrison, Daniel. “Max Reger Introduces Atonal Expressionism.” The Musical Quarterly, no. 4 (Winter, 2004), 660-80.
Kostka, Stefan M. Tonal Harmony: With An Introduction to Twentieth Century Music. New York: McGeaw-Hil, 1989.
Mead, Andrew. “Listening to Reger.” The Musical Quarterly, no. 4 (Winter, 2004), 681-707.
Morgen, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: Norton, 1991.
New Grove Dictionary of Music and Musician, S.v. “New German School”by Thomas S. Grey.
New Grove Dictionary of Music and Musician, S.v. “Reger, Max”by John Williamson.
New Grove Dictionary of Music and Musician, S.v. “sonata da chiesa”by David
Fuller.
New Grove Dictionary of Music and Musician, S.v. “sonata da camera”by David
Fuller.
Schonberg, Harold C. The Lives of the Great Composers. New York: W. W.
Norton, 1997.
Yates, Peter. Twentieth Century Music: It’s Evolution from the End of Harmonic Era into the Present Era of Sound. New York: Pantheon Books, 1967.

(二) 中文資料
郭瑜潁著。 《關於音樂學的100個故事》。台北市：紅螞蟻圖書有限公司，民97年。
陳國修著。 〈樂思錄：巴哈第二---Max Reger〉，《音樂月刊：唱片評鑑》，177卷（1997/06），121-123頁。
楊沛仁著。 《音樂史與欣賞》。 台北市：美樂出版社，民90年。
馬佩如。 《馬克斯•雷格降A大調第一號單簧管奏鳴曲作品四十九之樂曲分析與演奏詮釋》。 國立台北教育大學音樂教育學系碩士班學位論文，九五年度。

(三) 樂譜
Bach, J. S. Six Suites for Cello Solo. New York: International Music Company, 1947.
Reger, Max. Three Suites for Violoncello Solo, op.131c. Munchen: G. Henle Verlag, 1992.

(四) 網站
雷格基金會（MRI）
http://www1.karlsruhe.de/Kultur/Max-Reger-Institut/en/index.php
拿索斯線上音樂圖書館
http://www.naxosmusiclibrary.com/home.asp