「前奏與賦格」萌芽並成熟發展於巴洛克時期，古典時期因主音音樂及奏鳴曲式的崛起而暫緩腳步，至浪漫時期則因「巴赫音樂復興」再度復甦，身處浪漫時期的孟德爾頌(Felix Bartholdy Mendelssohn, 1809-1847)的作品35中，即內含六組前奏與賦格，以浪漫時期的音樂語彙出發，重新為此古老組合注入新的時代聲響及意涵。本文以作品35之選曲為研究範圍－分別為第一、三、四、六首，並分為六個章節：第一章緒論闡述筆者的研究動機、目的、研究範圍與方法。第二章將前奏與賦格分別釋義，並探究孟德爾頌自巴赫(Johann Sebastian Bach, 1685-1750)「前奏與賦格」的傳承與發展。第三章探討創作背景，此章節先論述孟德爾頌的鋼琴音樂分期與風格特色，概覽孟德爾頌的鋼琴賦格作品，最後以作品35之創作背景作結。第四章作品分析包含曲式架構、織度與和聲特點。第五章演奏詮釋將探討筆者於這四首前奏與賦格的演奏學習過程中所遇到的困難之處，並提出可能的解決辦法及詮釋觀點。第六章為結論。

“Prelude and Fugue”bourgeoned and developed in Baroque Period, subsided in Classical period due to the rising of homophonic music and sonata form, and then prospered again in Romantic Period because of “Bach Revial”. F. Mendelssohn(1809-1847) can be entitled the most influential figure marking the “Bach Revial”in the period. One of the F.Mendelssohn composed work, 6Preludes and Fugue, Op.35” were written in Romantic music style but creating a new epoch of the sound and music for the old musical combinations.
This dissertation focuses on the No.1, 3, 4, 6 in this work. There are six chapters devoted in this thesis. Chapter One (Introduction) clarifies the Motivation, Purpose, Scope and Method of the Study. Chapter Two illustrates “Prelude and Fugue”individually and probes into how Mendelssohn held the torch of the tradition passed down from Bach and developed it.
Chapter Three studies Mendelsohn’s compositional backgrounds, starting from his different piano composing stages and characteristics, followed by and overall survey of his piano fugue, ending with his Op.35.
Chapter Four Music Analysis includes the the form, texture and harmonic characteristics in these four piano preludes and fugues. Chapter Five Performance Interpretation demonstrates the problems in performing these works, and brings up with a possible solution and interpretation. Chapter Six is the Conclusion.

一、樂譜

Mendelssohn-Bartholdy, Felix. Klavierwerke III. Edited by Theodor Kullak. Frankfurt: C.F. Peters, 1934.

________________________. Klavierwerke Band II. Edited by Christa Jost, Ullrich
Scheideler. München: G. Henle Verlag, HN861, 2009.

________________________. Klavierwerke IV. Edited by Maurice Ravel. Paris: Durand, 2004.

________________________.Works for Piano: Band II. Edited by Julius Rietz. Wiesbaden: Breitkopf & Haertel, EB8317.

________________________. Early works for Piano. Edited by R. Larry Todd. New York: Cambridge University Press, 1985.

二、中文書目

王潤婷。《鋼琴演奏的藝術》。臺北：全音出版，1993。

陳銘志。《賦格學新論》。上海：上海音樂院出版社，2007。

蔡中文。《巴赫平均律鋼琴曲研究》。臺北：全音出版，1987。

劉志明。《曲式學》。臺北：全音出版，2003。

Leon Stein.《音樂的結構與風格》(Structure and Style: The Study and Analysis of Musical Forms)。潘皇龍 譯。臺北：全音出版，1978。

Ruth Slenczynska.《指尖下的音樂》(Music At Your Fingertips)。臺北：大呂出版，1991。

三、外文書目

Brown, Clive. A Portrait of Mendelssohn. New Haven: Yale University Press, 2003.

Gillespie, John. Five Centuries of Keyboard Music. New York: Dover Publications Inc.,1972.

Gordon, Stewart. A History of Keyboard Literature. New York: Schirmer Books, 1996.

Green, Douglass Marshall. Form in Tonal Music. 2nd ed. Orlando: Harcourt Brace Jovanovich College Publishers, 1979.

Kirby, F. E. Music for Piano. Portland: Amadeus Press, 1995.

Mercer-Taylor, Peter , ed. The Cambridge Companion to Mendelssohn. Cambridge: Cambridge University Press, 2004.

Radcliffe, Philip. Mendelssohn. London: Melbourne and Toronto, 1978.

Rosen, Charles. The Romantic Generation. Cambridge: Harvard University Press, 1995.

Todd, R. Larry. Mendelssohn’s Musical Education: A Study and Edition of his Exercises in Composition. Cambridge: Cambridge University Press, 1983.

______________, ed. Mendelssohn Studies. Cambridge: Cambridge University Press, 1992.

______________. Mendelssohn: A Life in Music. New York: Oxford University Press, 2003.

______________. Nineteenth-Century Piano Music. New York: Schirmer Books, 2004.

Vitercik, Greg. The Early Works of Felix Mendelssohn: A Study in the Romantic Sonata Style. New York: University of Rochester Press, 2002

Wallce Berry. Form in Music. 2nd ed. Upper Saddle River, N. J: Prentice Hall, 1986.

Werner, Eric. Mendelssohn: A New Image of the Composer and His Age. New York: Free Press of Glencoe, 1963.

四、期刊

吳姈潔(2006)。〈Mendelssohn、Liszt與Franck 「前奏與賦格」之時代風格表現初探〉。《關渡音樂學刊》第四期。台北：關渡音樂學刊，頁117-140。

五、論文

王大維。〈貝多芬晚期奏鳴曲中的賦格：以作品101, 106, 110為例〉。國立台灣師範大學音樂系碩士班演奏唱組詮釋報告，2011。

李威龍。（淺談孟德爾頌《第三號降B大調鋼琴奏鳴曲，作品106》與貝多芬《第二十九號降B大調鋼琴奏鳴曲「漢馬克拉維」，作品106》之關聯性）。《浪漫派鋼琴音樂國際學術研討會論文集》，新北市，民國98年5月，頁187-205。 新北市：輔仁大學，民國98年。

蘇茗瑾。〈孟德爾頌《莊嚴變奏曲》結構分析與詮釋〉。臺北市立教育大學音樂系碩士班演奏組詮釋報告，2010。

駱威帆。〈辛德密特《音之嬉戲，1942》復格曲技法之研究〉。私立東吳大學音樂系碩士班作曲組示範講習會論文，2011。

Amy, Christine Britton. A Study of Felix Mendelssohn’s Piano Fugues. Ph. D. diss. Cincinnati University, 2008.

Smith, Robert Carrol. Felix Mendelssohn's Six Preludes and Fugues, Opus 35. Ph. D. diss. Indiana University, 1989.

Yue-Fun Chuang. The Piano Preludes and Fugues of Felix Mendelssohn-Bartholdy: A Study of Their Inter-Movement Unity. Ph. D. diss. New York University, 1997.

六、有聲資料　　
Mendelssohn, Felix. Piano Works Vol.1. Benjamin Frith, pianist. CD. Naxos, 8.550939, 1994.

_______________. Préludes et Fugue opus 35, Pièces enfantines opus 72 and Fantaisie opus 28. Marie-Catherine Girod, pianist. CD. Saphir, LVC1069.

_______________. Mendelssohn Complete Piano Music. Martin Jones, pianist. Nimbus, Nl1772.