本論文以木笛的發展進程作為探究基礎，並深刻探討木笛這項樂器在不同國家中的音樂詮釋風格，進而依據筆者的研究動機篩選出本場音樂會之曲目。筆者依據本論文中的七首作品，探討文藝復興時期、巴洛克時期、十八世紀的易感風格、二十世紀的新古典主義與現代音樂的文獻資料，以及木笛音樂的歷史脈絡，從發展興盛到沒落，直至當代的再度復興，透過復古與新創，將兩者融合成新特徵來呈現。
另，本論文將分析本場音樂會曲目之作曲手法與結構，並提出適合當時期音樂的正確詮釋方法，而後，筆者在詮釋過程中，根據先前闡述之背景觀點，將該時期的音樂風格特點與木笛樂器能彰顯之特色融合，使之得以契合該作品之創作時期的音樂風格進行演繹。
本論文共分為三個章節。第一章為緒論：敘述筆者之研究背景與動機，綜整研究目的與待答問題及列出研究範圍與限制後，提出本論文之研究方法與程序。第二章為曲目分析與樂曲詮釋：本章分為七個節次來分析七首作品，每個節次依序為作曲家生平背景介紹、樂曲分析與演奏詮釋之方式。曲目分別為：第一節，巴薩諾：主題模仿曲第四首。第二節，梅阿利：D大調第四號奏鳴曲，作品3。第三節，狄尤帕特：D大調第二號組曲。第四節，卡斯楚奇：d小調第一號奏鳴曲，作品 10。第五節，艾曼紐・巴赫：c小調木笛無伴奏奏鳴曲，作品 132。第六節，
庫克：給木笛與弦樂團的協奏曲。第七節，林豪茨：大狒狒。第三章為結語：對

本場音樂會的曲目及其相關主題進行總結並提出結論，給予未來有興趣研究本論文相關主題之研究者進行參考。

The research explores the different music styles of the instrument recorder in various countries based on the research of the development history of the recorder, which results in the selections of music the author has chosen for the music performance based on the research motive. The author investigates the literatures from the Renaissance, the Baroque period, Empfindsamer style of the 18th century and the neoclassicism and modernism of the 20th century through the seven selected works in the essay, as well as the historical development of the recorder, from the peak to the decrease, all the way to the resurgence of their popularity. Recent resurgence of the recorder has merged the classical and innovative characteristics to develop a new style. This research further analyses the methods and structures of the compositions for the music of the performance and provides an accurate interpretation of the music of the period. The author then combines the musical style of the period, and the feature of the recorder based on the historical background from the last part to provide a fitting interpretation for the musical style from the time they were composed.
Divided into three parts, the first part of the research introduces the research background and motif of the author and the purpose and questions, lays out the limitation of the research and provides the method and process. The second part
analyses and interprets the music. This part contains seven sections that examine seven

pieces. Each section introduces the background of the composer, analyses the music and modes of interpretation. The pieces are Ricercata Quarta by G. Bassano, G. A. P. Mealli: Sonata in D Major Op. 3, No. 4, Suite in D Major No. 2 by C. Dieupart, Sonata in d minor Op. 10, No. 1 by P. Castrucci, Sonata in c minor for solo Recorder, Wq132 by C. P. E. Bach, Concerto for Treble Recorder and String Orchestra by A. Cooke and Big Baboon by P. Leenhouts. The third part summarizes the pieces from the performance and concludes the relevant information to provide a reference for future researchers interested in this topic.

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梁益彰。《木笛獨奏專輯－雅各布·范·艾克：木笛歡樂花園選集》。（台灣索尼音樂娛樂股份有限公司，2023 年 07 月）。
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B.C. Berkeley: Brilliant Classics, 2023.

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二、期刊論文
丁晏海。〈布拉姆斯 Hemiola 藝術歌曲研究〉。《臺南科大學報－生活藝術》第 28

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苟彩煥。〈探討音樂歷史裡「狂飆突進」風格的特色－以海頓與莫札特音樂創作為例〉。《環球科技人文學刊》第 24 期（2018 年）：83－102。
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三、學位論文
鄭重淇。〈卡爾‧菲利普‧艾曼紐‧巴赫《a 小調長笛無伴奏奏鳴曲》之作品研究與演奏詮釋〉。2022 年。
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SOLO. Schott Music London, 2001.

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