陳曉雰Chen, Hsiao-Fen陳侑蓉Chen, Yu-Jung2025-12-099999-12-312025https://etds.lib.ntnu.edu.tw/thesis/detail/773abc125944817da7e7268e1804eea8/http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/125942路德維希‧范‧貝多芬（Ludwig van Beethoven, 1770-1827）的三十二首鋼琴奏鳴曲在音樂史上被譽為「鋼琴新約聖經」，每一首皆有其獨特性。貝多芬1809年創作《升F大調鋼琴奏鳴曲，作品七十八》（Piano Sonata in F sharp major, Op. 78）、《G大調鋼琴奏鳴曲，作品七十九》（Piano Sonata in G major, Op. 79）以及《降E大調鋼琴奏鳴曲，作品八十一a》（Piano Sonata in E flat major, Op. 81a）之三首鋼琴奏鳴曲，與前後作品相隔近五年，其短小簡潔的曲式架構與風格，引發了筆者研究的興趣。本報告共有六章，第一章為緒論、第二章為貝多芬的生平與三首鋼琴奏鳴曲之創作背景、第三章至第五章分別探討三首奏鳴曲之樂曲分析與詮釋、第六章則為結語。透過本研究，筆者發現這三首奏鳴曲除了曲式結構的特殊性之外，貝多芬善於運用和聲色彩的變化來表達情感和對情景的描繪，以特殊動機或音型象徵的含義，將鋼琴作品交響化的創作技巧等，使三首奏鳴曲極具探討的價值，並可視為銜接最後六首鋼琴奏鳴曲的橋樑。The thirty-two piano sonatas of Ludwig van Beethoven (1770-1827) are known as the “Piano New Testament” in the history of music. Each one has its own uniqueness. Beethoven composed Piano Sonata in F sharp major, Op. 78, Piano Sonata in G major, Op. 79 and Piano Sonata in E flat major, Op. 81a in 1809, nearly five years apart from the works before and after them. Their short and concise musical structure and style aroused the author’s interest in research.This report has six chapters. Chapter 1 is the introduction, Chapter 2 is Beethoven’s life and the background of the three piano sonatas, Chapters 3 to 5 respectively discuss the music analysis and interpretation of them, and Chapter 6 is the conclusion. Through this study, the author found that in addition to the uniqueness of the musical structure, Beethoven used changes in harmonic color to express emotions and depict scenes, composed special motives or musical symbols, and symphonized piano works. These creative techniques make the three sonatas extremely worthy of discussion and can be regarded as a bridge connecting the last six piano sonatas.貝多芬鋼琴奏鳴曲作品78作品79作品81aBeethovenpiano sonataopus 78opus 79opus 81a作品連同書面報告（藝術類）