在十九世紀浪漫主義興起及自由風氣盛行之際，布拉姆斯以古典主義的作曲家自居，在創作中融合了傳統的形式架構與新風格的音樂語彙，將巴洛克及古典時期慣用的曲式與厚重的音樂結構相結合，而成就布拉姆斯獨特的創作風格。在布拉姆斯的創作風格中，以節奏的複雜性及動機與主題的發展最為人所稱道，若以創作領域而論，則有室內樂曲、鋼琴作品及交響曲……等，在歷史上留下不可抹滅的印記。
《E小調大提琴奏鳴曲》為布拉姆斯中期的創作，亦為其具代表性的室內樂作品之一，曲中可見為展現大提琴低沈厚實的音色，而在聲部音域之間所設計的特殊配置，若從節奏與動機之發展來觀之，也隱約可見布拉姆斯成熟風格的雛型，因此這首作品雖非布拉姆斯巔峰時期的創作，但也在歷史上佔有一席之地。
本文主要分為兩大部份，第一部份先簡述布拉姆斯的時代背景、創作類型與風格，及其在音樂史上的重要性，第二部份則從曲式架構、和聲語彙和動機的發展，分析《E小調大提琴奏鳴曲》，並就曲中所呈現布拉姆斯慣用的節奏與動機運用，作進一步地探究。最後也提出在演奏上所需留意的力度、術語，以及聲部音域之間的平衡性，以期使在詮釋上符合作曲家的創作意念之餘，也能夠展現個人的演奏風格。

During the prosperous period of romanticism and phenomenon of freedom, Brahms confined himself as a composer of classicism. He integrated the classical structure and the contemporary music language into his works. Brahms created his own style by using the powerful harmony and heavy texture with the form of baroque and classical music. The particular style was highly praised by the complicated rhythm pattern and the development of motive and theme. He left many kinds of works, including chamber music, piano pieces, and symphonies, etc., as a greatly significant legacy for the future generations.
Cello Sonata in E Minor was one of Brahms’ most important chamber works created in his middle period of life. In this piece, there was a specific arrangement for cello in order to emphasize on the thick and solid lower timbre of this kind of instrument. His mature style developed later on from the patterns of rhythms and motives. Although this sonata was not composed in the golden period of his life, it still became one of the most important masterpieces in today’s history.
This essay can be divided into two parts. The first part is focusing on the Brahms’ background, works sorted, style, and the significant effective position in the music history. The second part uses the music structure, harmony disposition, and motive development to analyze Cello Sonata in E Minor, and goes more in depth over the rhythms and motives of Brahms’ common use in the piece. Finally, it also concentrates on the dynamics, terminology, and the balance between the different pitch compasses in order to meet the hope of not only exactly following the composer’s creative thoughts but also strongly expressing the personal characters of performers.

前言 1

布拉姆斯的生平與音樂創作 2
布拉姆斯的生平與時代背景 2
布拉姆斯的作品分期與創作風格 5
布拉姆斯在大提琴領域的創作 13

《E小調大提琴奏鳴曲》之創作手法 16
樂曲分析 16
創作技巧與演奏詮釋 33

結語 47

參考文獻 48

西文書目
Avins, Styra. “An Undeniable Gift.” The Strad 107 (July 1996): 1048-53.
Becker, Heinz. “Johannes Brahms.” The New Grove Late Romantic Masters. London: Papermac, 1985.
Bernstein, David W. “ ’Path of Harmony’ in the First Movement of Brahms’s Cello Sonata in E Minor, Op. 38.” Current Musicology 75 (Spring 2003): 169-193.
Dalhaus, Carl. “Brahms and the Chamber Music Tradition.” Nineteenth- Century Music. Trans. J. Bradford Robinson. California: University of California Press, 1989.
_______. Schoenberg and the New Music. Trans. Derrick Puffett, Alfred Clayton. New York: Cambridge University Press, 1997.
Ferguson, Donald Nivison. Image and Structure in Chamber Music. Minneapolis: University of Minnesota Press, 1964.
Frisch, Walter. Brahms and the Principle of Developing Variation. Berkeley and Los Angeles: University of California Press, 1984.
_______. “Brahms, Developing Variation, and the Schoenberg Critical Tradition.” 19th Century Music V/3 (Spring 1982): 215-232.
Geiringer, Karl. Brahms: His Life and Work. New York: Da Capo Press, 1982.
Keys, Ivor Christopher Banfield. Brahms Chamber Music. London: Ariel Music/ BBC Publications, 1986.
Macdonald, Malcolm. Brahms. New York: Schirmer Books, 1990.
Murdoch, William. Brahms: with an Analytical Study of the Complete Pianoforte Works. London: Rich & Cowan, 1978.
Musgrave, Michael. The Music of Brahms. New York: Oxford University Press, 1994.
_______. The Cambridge Companion to Brahms. New York: Cambridge University Press, 1999.
Notley, Margaret. “Brahms’s Cello Sonata in F Major and its Genesis: A Study in Half-Step Relation” in Brahms Studies vol. 1, ed. David L. Brodbeck, 139-160. Lincoln: University of Nebraska, 1994.
Pascall, Robert. “Rumiations on Brahms’s Chamber Music.” The Musical Times 116, No. 1590 (Aug. 1975): 697-699.
Schoenberg, Arnold. “Brahms the Progressive.” Style and Idea: Selected Writings of Arnold Schoenberg. Ed. Leonard Stein. Trans. Leo Black. Berkeley and Los Angeles: University of California Press, 1987.
Stowell, Robin. The Cambridge Companion to the Cello. New York: Cambridge University Press, 1999.
Ulrich, Homer. Chamber Music. New York: Columbia University Press, 1966
Webster, James. “Schubert’s Sonata Form and Brahms’s First Maturity.” 19th-Century Music Vol. 3, No. 1 (Jul. 1979): 52-71.

中文書目
邵義強。 《浪漫派樂曲賞析（三）》。 台北：錦繡出版社，1991年。
許鍾榮。 《浪漫派的巨星5》。 台北：錦繡出版社，1991年。
楊沛仁。 《音樂史與欣賞》。 台北：美樂出版社，2003年。
瑪格麗特•康貝爾（Margare Campbell）。 《不朽的大提琴家》，張世祥譯。 台北：世界文物出版社，1996年。
顏綠芬。 《音樂評論：歷史、人物、理論、實例》。 台北：美樂出版社，2003年。