在舒曼( Robert Schumann, 1810-1856 )眾多的音樂作品裡,鋼琴個性小品占了大多數,其中的鋼琴曲《蝴蝶,作品2》,不但是舒曼最早受重視的作品,其中也包含了舞蹈的素材;波蘭舞曲、馬祖卡舞曲等舞蹈精神在內。而從《蝴蝶,作品2》開始,舒曼將音樂與文學的詩意緊密結合在一起,這種寫作的方式也成為舒曼後來創作的根基。 本文旨在探討舒曼的鋼琴作品《蝴蝶,作品2》。第一章緒論將大略提出研究主題的時代背景,並說明研究動機與目的。第二章主要探討舒曼的藝術觀點以及尚‧保羅(Jean Paul, 1763-1825)對於舒曼在創作上所造成的影響力。第三章針對《蝴蝶,作品2》中,舒曼所常用的創作手法做出論述。第四章則探討《蝴蝶,作品2》之演奏詮釋與技巧。
Robert Schumann’s (1810-1856) character piece took an important role in his musical works. Papillons, Op.2 is not only the earliest work of him, but it brings out the spirits of dances such as polonaise and marzurka. Schumann started integrating the soul of literature while he composed this piece, and it turned out a corner stone master piece in the piano literature. This paper is a theoretical and interpretative survey on the subject of Papillons, Op.2. It displays the motivation and aim of this study in the first chapter. The second chapter discusses characteristics of Schumann’s works and Jean Paul’s influence on Schumann’s compositions. The third chapter mainly analyzes Schumann’s writing style of Papillons, Op.2. The fourth chapter demonstrates the performance practice of the same work.