摘要
木笛的歷史最早可追溯至文藝復興時期甚至在更早之前已出現木笛的蹤影，在歷史上經過了許多的時期，也因此發展出多樣化的作品類型以及演奏風格，而不同的音樂時期以及不同國家的民族發展皆對木笛作品的詮釋有著非同小可的影響。 本論文藉由研究本場音樂會的曲目更深入探討木笛於各個時期的發展與演變，以及木笛於不同時期與國家之音樂風格與詮釋，其中包含文藝復興時期、巴洛克時期之德、義、法三國之特色與差異，以及近代作品之音樂風格，將木笛的歷史脈絡以及詮釋方法透過資料的搜集進行整理與統整。本場音樂會之曲目也包含上述提及之各個時期以及國家，本論文也針對音樂會之曲目進行和聲與作曲手法之分析，並提出符合當時期之音樂詮釋方法。 本論文共包含五個章節：第一章為緒論，於本章將闡述筆者之研究背景與動機，針對本論文的研究目的與問題，以及本論文之研究範圍與限制，根據特殊名詞進行名詞釋義 ; 第二章為文獻探討，將針對木笛的歷史背景與發展，以及不同時期之演奏風格的資料進行搜集與統整，分為木笛樂器發展簡史、文藝復興時期風格特色、巴洛克時期風格特色以及近代曲目風格特色等四個節次 ; 第三章為研究方法，其中包含研究架構、研究對象以及研究流程 ; 第四章為音樂會曲目解說與分析詮釋，分別為本場音樂會所有曲目之作曲家介紹、樂曲分析以及樂曲詮釋，分別為：第一節、巴薩諾：主題模仿曲第四首。第二節、馮塔納：C大調奏鳴曲。第三節、霍替泰爾：F大調第三號組曲，作品編號五。第四節、希克哈特：b小調第四號奏鳴曲。第五節、韋瓦第：g小調奏鳴曲，佛利亞。第六節、巴赫：編號1039。第七節、席格：第二號非洲組曲總共七首獨奏以及重奏作品 ; 第五章則針對本論文所探討之主題以及曲目提出結論，並給予未來有興趣進行本論文主題之相關研究者建議。
並列摘要
The history of the Recorder can be traced back to the Renaissance or even earlier. It has existed throughout many periods in history and thus diverse types of pieces and performance styles have been developed. Different musical periods and the national development of different countries have all significantly influenced the interpretation of the recorder pieces. This thesis explores the development and evolution of the recorders in various periods by studying the repertoire of this concert, as well as the musical styles and interpretations of the Recorder pieces in different periods and countries, including the characteristics and differences between Germany, Italy, and France in the Renaissance and Baroque periods, as well as the musical styles of modern works. I have analyzed the historical contexts and interpretation styles of the recorders through data collection. The repertoire of this concert includes the various periods and countries mentioned above. In addition, I have analyzed the harmony and composition techniques of the repertoire of this concert and put forth the music interpretation styles that fit the periods. This thesis consists of five chapters. Chapter 1 is the introduction; this chapter covers my research background and motivation, the research purpose and questions about this thesis, the research scope and limitations of this thesis, and the definition of special terms. The second chapter discusses the literature. I collected and compiled material that examines the historical background and development of the recorders, as well as the performance styles from different periods and divided them into four sections: a brief history of the development of recorders as an instrument, the styles in the Renaissance period, the styles in the Baroque period, and the style in the modern repertoire. Chapter 3 is the research methodology, which includes the research framework, research subjects, and research process. Chapter 4 focuses on the interpretation and analysis of the concert repertoire, including an introduction to all composers mentioned as well as analysis and interpretation of all musical compositions in the repertoire of this concert; the repertoire contains in total seven solo and ensemble works arranged as: Section 1: G. Bassano-Ricercata Quarta; Section 2: G. B. Fontana-Six sonatas for violin or recorder and basso continuo, No. 3; Section 3: J. M. Hotteterre-Four suites for recorder and basso continuo, op.5, No.3; Section 4: J. C. Schickhardt-Sonata No. 4 in b minor; Section 5: A. Vivaldi-Sonata in g minor, op.1, No.12, La Folia; Section 6: J. S. Bach-BWV1039; Section 7: Sören Sieg-Afrikanische Suite Nr. 2. In Chapter 5, I made conclusions on the topics and repertoire discussed in this thesis and provided suggestions for future researchers who are interested in topics related to this thesis.