羅伯特．舒曼 (Robert Schumann, 1810-1856) 為十九世紀德國浪漫樂派的作曲家，其作品與文學的關聯性形成獨特的音樂風格，而他的鋼琴個性小品具有相當的重要性。筆者選擇《間奏曲》(Intermezzi, Op.4) 與《兒時情景》 (Kinderszenen, Op.15) 作為論文的研究範圍，並作樂曲分析和演奏詮釋的探討。樂曲分析主要從曲式架構、調性、和聲、旋律和節奏的層面，指出作品與文學的關聯、舒曼其他音樂作品的引用，並整理歸納出舒曼在兩個作品中的作曲手法。筆者使用The Cambridge Companion to Schumann (2007) 中舒曼鋼琴作品分期的劃分方式，將舒曼的鋼琴創作劃分為第一階段 (1827-1836) 的意象 (a world of images) 和第二階段 (1837-1849) 的後意象 (afterimages)，《間奏曲》與《兒時情景》分別屬於分期的第一與第二階段。經分析比對，兩者的共同點可見於頻繁的力度變化、終止式的安排、樂曲間的關聯性、調性變化和對位寫作手法。《間奏曲》和《兒時情景》的不同點則是詩意樂曲標題的使用、整體音樂風格和樂曲的篇幅長度。

Robert Schumann (1810-1856) is a prominent figure which represents the German Romanticism in the 19th century. Literature continued to strive a significant role in his music and formed his unique composing style. Character pieces are of great importance among his works. The thesis explores Schumann’s Intermezzi, Op. 4 and Kinderszenen, Op. 15, which were composed in 1832 and 1838 respectively. The writer delves deeper into their background of the composition, music analysis and interpretation. Music analysis is based on the aspect of structure, tonality, harmony, melody and rhythm. The writer also includes the connection with literature and references of other musical works, and concludes Schumann’s composing style in two pieces. Referring to the The Cambridge Companion to Schumann (2007), Schumann’s piano works can be divided into two periods: a world of images (1827-1836) and afterimages (1837-1849). Intermezzi and Kinderszenen are classified as the work from the first and second period, respectively. After comparison, their similarities could be found in terms of dynamics, cadences, correlations between pieces, modality and tonality and counterpoint. The differences are the usage of poetic titles, overall music style and the length of music piece.

一、西文書目
Brown, Clive, and Roger Norrington. Classical and romantic performing practice, 1750-1900, 2004.
Daverio, John. Crossing paths Schubert, Schumann, and Brahms. Oxford University Press, 2002.
Daverio, John. Robert Schumann: Herald of a “New Poetic Age”. New York: Oxford University Press, 1997.
Davis, Andrew. Sonata Fragments: Romantic Narratives in Chopin, Schumann, and Brahms. Bloomington: Indiana University Press, 2017. Accessed August 5, 2023. ProQuest Ebook Central.
Gordon, Stewart. A history of keyboard literature: Music for the piano and its forerunners. Schirmer Books: New York, 1996.
Jensen, Eric Frederick. Schumann. Oxford: Oxford University Press, 2012.
Kok, Roe-Min, and Laura Tunbridge. Rethinking Schumann. Oxford University Press, 2011.
Perrey, Beate, ed. The Cambridge Companion to Schumann. Cambridge Companions to Music. Cambridge: Cambridge University Press, 2007. doi:10.1017/CCOL9780521783415.
Reiman, Erika. Schumann’s piano cycles and the novels of Jean Paul. Rochester, NY: University of Rochester Press, 2004.
Reti, Rudolph. The thematic process in music. Westport, CT: Greenwood Press, 1978.
Rosen, Charles. Freedom and the arts: Essays on music and literature. Harvard University Press, 2012.
Schumann, Robert, Georg Eismann, and Gerd Nauhaus. Robert Schumann Tagebucher. Leipzig: Deutscher Verlag f. Musik, 1971.
Schumann, Robert. Early letters of Robert Schumann. trans. May Herbert. London: George Bell and Sons, 1888.
Stefaniak, Alexander. Schumann's Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany. Bloomington: Indiana University Press, 2016. Accessed September 8, 2023. ProQuest Ebook Central.
Todd, R. Larry. Schumann and his world. Princeton, NJ: Princeton University Press, 2014.

二、中文書目
林公欽。《舒曼鋼琴曲集》。臺北：四章堂文化事業，2005。

三、西文論文
Roy, M. J. (2018). The Musicalization of Romantic Childhood: Genre, Power, and Paradox. Doctoral Dissertations, UC Santa Barbara. ProQuest ID: Roy_ucsb_0035D_14199. Merritt ID: ark:/13030/m53f9nm4. Retrieved from https://escholarship.org/uc/item/4d43b4zs

四、西文期刊
Iarosh, Olga V. “Micro Monothematic Tecnhique in Music by R. Schumann (Based on Piano Works).” Journal of Siberian Federal University. Humanities & Social Sciences 3. 2014, 7: 510-524. http://journal.sfu-kras.ru/en/article/10260.
Jensen, Eric Frederick. “Explicating Jean Paul: Robert Schumann’s Program for ‘Papillons,’ Op. 2.” 19th-Century Music 22, no. 2 (1998): 127–43. https://doi.org/10.2307/746854.
Newcomb, Anthony. “Schumann and Late Eighteenth-Century Narrative Strategies.” 19th-Century Music 11, no. 2 (1987): 164–74. https://doi.org/10.2307/746729.
Smith, P. H. “Hausmusik for Cognoscenti: Some Formal Characteristics of Schumann’s Late-Period Character Pieces for Instrumental Ensemble.” Music Theory Spectrum 37, no. 1 (2015): 51–70. https://doi.org/10.1093/mts/mtv001.
Taylor, Timothy D. “Aesthetic and Cultural Issues in Schumann’s ‘Kinderszenen.’” International Review of the Aesthetics and Sociology of Music 21, no. 2 (1990): 161–78. https://doi.org/10.2307/837021.
Truscott, Harold. “Form in Romantic Music.” Studies in Romanticism 1, no. 1 (1961): 29–39. https://doi.org/10.2307/25599538.

五、樂譜
Schumann, Robert. Intermezzi Opus 4. München: G. Henle Verlag, 1978.
Schumann, Robert. Klavierwereke Band I. Opus 15. München: G. Henle Verlag,1977.