賴麗君Li-Chin Lai劉忠欣Jhong-Sin Liou2019-09-062016-8-222019-09-062011http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0893610068%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108826莫札特的鋼琴奏鳴曲為鋼琴家必備的曲目之一，其鍵盤音樂風格承襲自巴洛克時期，也反映當代之音樂風潮，但卻能樹立自己獨特之風格。時至今日，其影響所及仍不容忽視。本論文以鋼琴奏鳴曲的第一樂章為研究範圍，筆者將以演奏者的角度，就詮釋與演奏做深入之探討，試圖在主觀與客觀的論點中，勾勒出筆者心目中的莫札特，除以實際演奏 (performance practice) 為基礎之外，並以筆者主觀之音色想像做為詮釋之主軸，期盼此論文能有助讀者在演奏或教學上之啟發。Mozart’s piano sonatas are essential for all pianists. His keyboard works which are influenced by Baroque music not only reflect the trends of the time but also show the composer’s unique style. This dissertation will focus on the first movements of his piano sonatas. The author, as a performer, will further discuss the performance practice and interpretation of Mozart’s music and make attempts to depict Mozart both subjectively and objectively. The main discussion of the interpretation will be the author’s own notion of the timbre and thus hopefully can be inspiring for performance and teaching.莫札特鋼琴奏鳴曲詮釋實際演奏Mozartpiano sonatainterpretationperformance practice