蕭邦是浪漫時期最有影響力的作曲家之一，他創造出各類型的鋼琴作品。19世紀開始，敘事曲不只是文學作品或者民間歌曲，它變成一個樂曲的名稱，當時主要為聲樂曲，後來器樂也出現了敘事曲。 而鋼琴的敘事曲為蕭邦首創的，他創作的敘事曲融合文學藝術，蕭邦從小受到父親以及父親身邊的朋友們的薰陶之下，將文學的故事與敘事曲相互結合，創造出新的樂曲類型。 敘事曲的曲式沒有框架，蕭邦是藉由文學故事的發想所創作的，讓大眾對於敘事曲的曲式與故事上有更多的想像與推論。 此篇論文分為四章節，探討蕭邦第二號敘事曲以及夜曲作品9-1的踏板技巧與應用：第一章為緒論，藉由緒論來引導筆者的研究動機與方向。第二章介紹蕭邦的敘事曲創作背景，並了解當時作曲家的創作特色。第三章介紹第二號敘事曲的樂曲分析，理解此曲的結構與分析。第四章為本文的重心，第二號敘事曲的踏板技巧與應用，最後歸納出心得與結論。第五章為蕭邦夜曲作品9-1的踏板技巧與應用。 希望藉由此研究，能幫助筆者對於蕭邦的第二號敘事曲，在詮釋與理解上能有更多的體驗與新的認知。 F. Chopin was one of the most influential composers in the Romantic Period. He wrote a great amount of piano music. The beginning of the 19th Century, ballade was not only a kind of literature or folk tune, but also became to be a type of musical form. At that time, it was mainly for vocal composition. Later, Ballade soon appeared within instrumental works. F. Chopin was the first composer to write piano works with a sense of balletic interlude which comprises masses of literature and artistic connotation. One could say that Chopin had created a new type of musical form-Ballade. The form of a ballade doesn't have a certain rule. Chopin created this type of form with literary stories or poetry. He expected the performer to have great imagination and inference for interpreting his ballade. This thesis has four chapters and investigates the use of pedaling of Chopin's second Ballade Nocturne Op.9-1. The first chapter is the introduction, explaining author's research motivation and direction. The second chapter states the historical background of the ballade. The third chapter sets out the analysis of the second Ballade. The fourth chapter reveals the author's application of pedaling to the second Ballade. In the last chapter is the author's application of pedaling to Chopin's Nocturne Op. 9-1. I would hope this research could help me and other performers to understand more about the ideas and interpreting.
