孟德爾頌 (Felix Mendelssohn, 1809-1847) 為十九世紀前期之重要作曲家和指揮家，出生於富裕且文化涵養充足的猶太教家庭，在家接受多位名師指導鋼琴、弦樂和作曲。在世時就以作曲家和指揮家的身份享譽國際，並以來比錫布商大廈交響樂團 (Leipzig Gewandhaus Orchestra) 的音樂總監一職為終生最高成就。一生中持續有歌樂作品的創作，其中在合唱作品當中，從「路德計畫」之十首作品可見孟德爾頌創作大型宗教作品和神劇作品之前，如何學習和奠定個人創作風格。
《深處呼求》(Aus tiefer Not schrei ich zu dir, op. 23, no. 1) 創作於1830 年，為受到路德 (Martin Luther, 1483-1546) 讚美詩啟發所寫的聖詠經文歌。歌詞和聖詠曲調採用路德讚美詩，編制為四部混聲合唱、女中音獨唱、男高音獨唱、男低音獨唱和管風琴。音樂以聖詠曲調為基礎使用多種手法創作，加以闡釋路德讚美詩的信仰精神。
全曲共分為五個部分：第一部分〈聖詠曲〉為 F 小調，以同節奏和聲式織度呈示聖詠曲調，並以各聲部的音型展現歌詞的音畫效果；第二部分〈復格曲〉為 F 小調，以聖詠曲調作為復格主題，展現精湛的四聲部對位技巧；第三部分〈獨唱與合唱〉為降 A 大調，前段之男高音獨唱以優美的曲調唱出守候信靠於主的敬畏之心，後段之四聲部合唱呼應男高音的獨唱；第四部分〈聖詠曲〉為 F 小調，為女中音、男高音和男低音之三重唱，以及合唱團之女高音聲部演唱定旋律；第五部分〈聖詠曲〉為 F 小調，與第一部分首尾呼應，並以皮卡第三度終止結尾，彷彿一切罪業都得到救贖。
本論文共五章：第一章「緒論」分為三節，討論研究動機、研究內容和研究文獻資料；第二章「背景探究」分為三節，討論孟德爾頌之生平概述、孟德爾頌之合唱作品和《深處呼求》歌詞與聖詠曲調之背景；第三章「《深處呼求》之音樂分析」分為五節，逐一討論各部分之創作手法；第四章〈音樂詮釋與合唱排練建議〉分為六節，前五節討論樂曲編制、歌詞、調性與和聲、力度與織度和速度與節拍之詮釋和排練建議，第六節為研究者對此作品之演出實務建議心得；第五章為本研究之「結論」。

Felix Mendelssohn (1809-1847) was one of the important composer and conductor in the early nineteenth century. He was born in a wealthy and literate Jewish family, and received tutors in piano, strings and composition by several famous musicians, among them, Carl Friedrich Zelter (1758-1832) had the deepest influence. During his lifetime he gained international acclaim as a composer and conductor, culminating in his career as Music Director of the Leipzig Gewandhaus Orchestra. Throughout his life, Mendelssohn has been continuously composing vocal and choral music. Among his choral compositions, "Lutheran Project," comprising ten pieces, provides insight into how Mendelssohn learned and cultivated individual compositional style prior to his oratorios and larger sacred works.
Aus tiefer Not schrei ich zu dir (op. 23, no. 1), composed in 1830, is a chorale motet inspired by Lutheran hymns. The lyrics and choral tune were based on Martin Luther's (1483-1546) hymn, setting in four-part mixed choir, alto solo, tenor solo, bass solo, and organ.
Aus tiefer Not schrei ich zu dir is divided into five parts: the first part, "Choral," is in F minor, presenting the chant melody in the same rhythmic harmony pattern, and showing word-painting of the lyrics with the figuration of each part; The second part, "Fuge," is in F minor, with the choral tune as the subject of the fugue, showing superb four-part counterpoint skills; The third part, “Arie mit Chor,” is in A-flat major, which by tenor solo in the first part sings the awe of waiting and trusting in the Lord, and the four-part chorus in the latter part echoes the tenor's aria; The forth part, “Choral,” is in F minor, with the cantus firmus of soprano choral part, trio of alto solo, tenor solo and bass solo sings free counterpoint accompanying the cantus firmus; the fifth part, "Choral," is in F minor, which echoes the beginning, ending in Picardy third cadence, as if all of the sins are redeemed by the Lord.
This thesis consists of five chapters: the first chapter "Introduction" is divided into three sections, discussing the research motivation, research content, research references; the second chapter "Background Inquiry" is divided into three sections, discussing Mendelssohn's biography, the choral works of Mendelssohn and the background of the lyrics and chorale tune of Aus tiefer Not schrei ich zu dir; the third chapter "Music Analysis of Aus tiefer Not schrei ich zu dir" is divided into five sections, respectively discussing the musical contents of each part; the forth chapter "Music Interpretation and Choral Rehearsal Advice" is divided into six sections. The first five sections discuss in musical setting, lyrics, tonality and harmony, dynamics and texture, and tempo and meter respectively, and the sixth section provides researcher’s practical experience in the performance of the music; The fifth chapter is the "Conclusion" of this thesis.

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