二十世紀美國作曲家阿倫•科普蘭（A. Copland）受爵士樂名家班尼•固德曼（B. Goodman）之委託，於一九四八年完成的《單簧管協奏曲》，不但重拾了他在二０年代所喜愛的爵士風格，曲中亦使用其慣用手法，選用精簡的素材再加以擴充、延伸，將簡要的素材以各種面貌呈現出來；除了爵士節奏外，更融入了巴西民謠與美國通俗音樂的元素。鮮少創作協奏曲的科普蘭，在配器的設計方面、結構的特殊性，以及巧妙運用單純素材的手法，讓此曲同時具簡單通俗的旋律性與高超的演奏技巧，在二十世紀眾多的單簧管作品中，得以脫穎而出。本報告共分為三章，第一章主要整理科普蘭的創作歷程、風格的轉換等，說明此曲的創作緣起，以及簡單介紹委託科普蘭創作的固德曼；第二章從樂曲結構、素材運用以及演奏技巧與詮釋等三方面探討《單簧管協奏曲》；第三章分析《單簧管協奏曲》，在科普蘭作品中、單簧管曲目中的獨特性。

Aaron Copland’s Clarinet Concerto was written for jazz clarinetist Benny Goodman in 1948. The composition used not only the jazz style of 20s that he had been appreciated, but also the frequent used compositional techniques -- developing and expanding the plain materials that presented into various ways. Moreover, besides the treatment of jazz rhythms, the combination of elements of Brazilian folk song and American popular music were also applied to the Clarinet Concerto.
Although “concerto” has never been the center of Copland’s works, the Clarinet Concerto has taken an outstanding place in the 20th century clarinet repertoire. This is explained by the arrangement of instrumentation, the originality of structure and the techniques of using plain materials. It combines the characteristics of uncomplicated melodies and meanwhile demands challenging performance techniques.
This research includes three chapters. The first chapter introduces Copland’s musical career, shifts of style and the illustration of the Clarinet Concerto’s background. The second chapter brings in the discussion of the concerto from three aspects -- structure, musical elements and performance practice. The final chapter deals with the distinctiveness of the Clarinet Concerto.

前言 1
第一章 科普蘭《單簧管協奏曲》樂曲背景
第一節 科普蘭的創作 3
第二節 《單簧管協奏曲》之創作背景8
第二章 科普蘭《單簧管協奏曲》
第一節 曲式架構 11
第二節 素材運用 26
第三節 演奏技巧與詮釋 39
第三章 科普蘭《單簧管協奏曲》之獨特 45
結論 47
參考文獻 49

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