並列摘要
The origin and development of Toccata musical form was briefly addressed. Debussy's 〈Toccata〉, the third piece of 《Pour le Piano》, was analyzed in this article. Furthermore, comparison among four pianists in terms of techniques, musical interpretation, as well as performance styles was also discussed.
被引用紀錄
鍾佩娟（2012）。德布西鋼琴作品《為鋼琴的》之研究與詮釋〔碩士論文，國立臺北藝術大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0014-1502201223552600
延伸閱讀
- 鍾佩娟（2012）。德布西鋼琴作品《為鋼琴的》之研究與詮釋〔碩士論文，國立臺北藝術大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0014-1502201223552600
- Chen, S. (2011). 德布西鋼琴作品的創作觀點之探討. 中山人文學報, (30), 117-138. https://www.airitilibrary.com/Article/Detail?DocID=10243131-201101-201201110008-201201110008-121-142
- 林詩訓（2010）。亨德密特《奏鳴曲為中音號與鋼琴》之樂曲分析與演奏詮釋〔碩士論文，國立臺北藝術大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0014-0607201019532700
- 陳儀庭（2016）。亨德密特《給英國管與鋼琴奏鳴曲》之樂曲分析與演奏詮釋〔碩士論文，國立臺北藝術大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0014-2306201610290000
- 葉靜雯（2019）。An Interpretation of Poulenc’s “Les Quinze Improvisations” pour piano〔碩士論文，國立臺灣師範大學〕。華藝線上圖書館。https://doi.org/10.6345/THE.NTNU.DMU.004.2019.A10