| 摘要: | 海頓（Franz Joseph Haydn, 1732-1809）是維也納古典樂派的傑出代表，在他最後三首為英國式鋼琴而作的奏鳴曲中，《第五十二號降E大調鋼琴奏鳴曲》作品52（HobXVI:52）無遺地展現鍵盤奏鳴曲中極具特色之創作手法，是海頓最偉大的鋼琴奏鳴曲之一。
筆者第一次聽到海頓這首鋼琴奏鳴曲時，就深深被第一樂章第一主題之濃烈飽滿的音響及明朗壯闊的和聲所驚豔，因此激發筆者研究此奏鳴曲之意圖，想經由其創作背景，以及海頓的創作手法，來幫助筆者對這首奏鳴曲有深入的理解，更充分精確地表達作品精髓，提升筆者的演奏層次，並作為未來研究者及演奏者之參考。
本論文共分為五章，第一章為緒論，包含研究動機與目的、研究範圍、研究方法與步驟。第二章為海頓生平及鋼琴奏鳴曲之分期。第三章為《第五十二號降E大調鋼琴奏鳴曲》之樂曲分析，（包含和聲的運用、調性配置等），曲式結構、音樂風格及創作手法。第四章為演奏詮釋之探討，第五章為研究內容之總結。
Franz Joseph Haydn (1732-1809) was one of the most prominent and admirable composers of the Classical Period. Among his latest Sonatas, Joseph Haydn’s completely revealed his notable and unique compositional style in the Piano Sonata in E-flat Major, Hob.ⅩⅤⅠ:52.
The intention of selecting Joseph Haydn’s in E-flat Major, Hob.ⅩⅤⅠ:52 as the a interpretational topic can be traced back while hearing the Sonata during the very first time. The author was deeply amazed by the interesting harmonic language in the first movement of the Sonata. Thus, the author is intended to carry out the research on Joseph Haydn’s compositional techniques with its background and try to figure out more interpretational possibilities of this Sonata. Moreover, by solid textual analysis and induction, this thesis aims to serve as a reference for other researchers and performers in the future.
The thesis consists of five chapters. In the preface chapter, which will include the motivation of research, research domain, research methodology and plan. Secondly, the chapter will go through the composing background of Joseph Haydn’s and his compositional style during different time periods. In the third chapter, which will apply to the methodology of composition analysis on Joseph Haydn’s Piano Sonata in E-flat Major, Hob.ⅩⅤⅠ:52 (including topics of harmony, tonality, rhythm, phrasing, and the techniques). In the fourth chapter, which is also the principle of this thesis, will discourse about author’s personal interpretation on the Sonata based on the analysis result from the previous chapter. Lastly in the fifth chapter, will induce a conclusion of proper interpretation of the Sonata. |
