摘 要 十八世紀獨奏協奏曲第一樂章的曲式結構，由原本巴羅克時期慣用的回轉曲式逐漸的轉變為奏鳴曲式。古典時期在所有器樂作品皆大量運用奏鳴式原則創作的同時，協奏曲第一樂章曲式之發展亦牽扯到回轉曲式與奏鳴曲式之間的關聯性。協奏曲第一樂章曲式到底是由回轉曲式逐漸轉變為奏鳴曲式，或是後者直接取代前者，亦或此二者間的關聯事實上更為複雜？本論文即針對十八世紀協奏曲第一樂章曲式之轉變進行研究，並以樂種發展的角度加以深入探討。 本論文主要參考文獻為與協奏曲第一樂章曲式相關之英美期刊論文，首先整理協奏曲各地發展狀況，接著分析十八世紀協奏曲第一樂章為佐證，並以十八世紀到十九世紀末間，各家音樂理論關於協奏曲第一樂章形式發展的描述作為論述之依據。樂曲實例與理論相關文字相互對照，試圖從中釐清古典時期 (Classical) 協奏曲第一樂章曲式發展之真實面貌。經由本文作品實例分析與相關理論檢視，確認十八世紀協奏曲第一樂章形式的確融入了奏鳴曲式的手法。但就整體樂章而言，協奏曲和交響曲無法等同，協奏曲第一樂章曲式亦非奏鳴曲式，古典時期協奏曲的第一樂章曲式應該回歸樂種發展的脈絡下來觀察。 Abstract Originally, the composition of the first movement of solo concerto in the 18th century was gradually transformed into the sonata form from the ritornello form commonly used in the baroque period. In the classical period (1750?1820) when almost all musical instruments began to create in accordance with the principle of sonata form in a tremendous amount of numbers, a new development of the first movement form of concerto, however, was hinged upon the correlation between the ritornello form and the sonata form. Did the first movement form of concerto undergo a progressive transformation from ritornello form into a news version of sonata form, or was the ritornello form being directly replaced by the sonata form? Or even, there was a more complex correlation existing between these two forms? This study intends to conduct an in-depth research on the transformation of the first movement form of concerto of the 18th century from the angle of music genre development. Using the first movement form of concerto related articles published on various English and American periodicals as main reference, the study tries to clarify the real feature of development of the first movement form of concerto during the classical period, by first compiling the development situation in various countries, and cross-referring of musical pieces and related theories based on the 18th century’s first movement form of concerto, and the theoretical descriptions from the 18th through the end of 19th century. Results of the study indicate that the first movement form of concerto of the 18th century did integrate sonata form in its way of expression. Nevertheless, the concerto was not the equivalent to the symphony in terms of the overall movement, while the first movement form of concerto was not identical to sonata form. The first movement form of concerto in the classical period should be examined by returning it back to the context of music genre development.
