摘要
從十六世紀晚期開始，器樂漸漸佔有一席之地，木笛逐漸興起，從單純的獨奏曲目發展至有完整架構的合奏曲，到了巴洛克時期開始有許多作品以室內樂的方式呈現，但此樂器曾於古典時期後消失一百五十年，至十九世紀才開始重新活躍於樂壇。因此本論文以探討本場音樂會之木笛於各時期的室內樂作品，不同時期的室內樂曲該如何突破與解決音色與聲響上所受到的限制，搭配符合當時期風格的演奏方式，創作正確的聲響。 本論文分為五個章節，分別為第一章緒論、第二章文獻探討、第三章研究方法與步驟、第四章樂曲分析與詮釋、以及第五章結論與建議。 第一章緒論包含研究動機與背景、研究目的與問題、研究範圍與限制以及名詞釋義。第二章整理本場音樂會之曲目所相關的文獻，探討木笛的室內樂發展、巴洛克奏鳴曲、巴洛克音樂風格與特色，以及現代的木笛演奏技法與前衛音樂手法。第三章為研究方法與步驟。第四章樂曲分析與詮釋，以本場音樂會曲目為主，包含作曲家介紹、樂曲介紹以及分析與詮釋。第五章則是總結心得與收穫並給予建議。
並列摘要
From the late 16th century onwards, instrumental music gradually took center stage, with the Recorder gradually emerging as a significant instrument. Recorder compositions developed from a simple solo repertoire to ensemble pieces with complete structures. During the Baroque period, many works were produced in the form of chamber music. However, this instrument disappeared for 150 years after the classical period, becoming active again in the 19th-century music scene. This study explores recorder chamber music across various periods, and its aim is to investigate how chamber music in these different periods broke through timbre and sound limitations to match the style of performance in each period and to create the resonant sounds. This thesis is divided into five chapters: an introduction (first chapter), literature review (second chapter), research methodology and procedures (third chapter), music analysis and interpretation (fourth chapter), and conclusions and suggestions (fifth chapter). The first chapter outlines the research motivation, background, objective, questions, scope, and limitations, as well as defining the study’s terms. The second chapter presents a review of the literature related to this concert’s repertoire and discusses the development of recorder chamber music, the Baroque sonata form, Baroque music style and characteristics, modern wooden flute playing techniques, and avant-garde music techniques. The third chapter features the study’s research methodology and procedures. The fourth chapter presents the study’s music analysis and interpretation, focusing on this concert’s repertoire and including an introduction to the composer and musical composition. The fifth chapter summarizes my findings and contributions and provides suggestions for further research.