摘要
研究威爾第的歌劇，Abramo Basevi在Studio sulle opere di Giuseppe Verdi（1859）一書中，對威爾第歌劇詩體、音樂與戲劇的分析，為我們提供了一個討論的基礎。他提出，十九世紀初期義大利歌劇作曲家，包括羅西尼、貝里尼以及董尼彩第等，在戲劇與音樂的安排上，特別是在寫作詠嘆調、二重唱以及終曲時，逐步形成一種固定的模式，他並將這種由羅西尼所奠定下來的「慣例」，稱為「梭利塔模式」。
1851-1853年間，威爾第在短短的三年內，創作了《弄臣》、《遊唱詩人》與《茶花女》三部各具特色的作品。從這三部歌劇的戲劇取材以及著重角色心理層面的描繪當中，可以發現威爾第創新的精神，但是在音樂內容當中，他卻依然固守十九世紀義大利歌劇「編號歌劇」以及「梭利塔模式」的傳統作法。但事實上，威爾第的改革是溫和漸進的，他善用各種不同的手法，竭力想解決因為此種固定的模式，所造成的劇情停頓、音樂與戲劇聯繫不緊密等的問題，以期完成他音樂與戲劇合而為一的理想。
本論文共包含六章，第一章簡介Basevi的背景。第二章則是將學者們對「梭利塔模式」各個段落的名稱解釋，做一個綜合整理，並以羅西尼的曲子為例，概述十九世紀中葉以前，義大利歌劇之「梭利塔模式」的一般特色。第三章、第四章與第五章，則是分別分析三部歌劇中詠嘆調、二重唱與終曲之「梭利塔模式」，從中探討「梭利塔模式」在威爾第歌劇當中的應用與變異，第六章結論則是歸納整理這些手法，並由此瞭解威爾第創作手法上的傳統與創新。

Abstract
Abramo Basevi, the author of Studio sulle opere di Giuseppe Verdi (1859), provided a powerful analytical foundation for Verdi’s operas study in verbal organization, music and dramatic action. From his point of view, arias, duets and finales organized by Italy composers in the early nineteenth century such as Gioachino Rossini, Vincenzo Bellini and Goaetano Donizetti, have been formalized as fixed-designs gradually. Basevi termed the “convention” as “La solita forma” which was developed and popularized by Rossini.
Verdi composed characteristic trilogy: Rigoletto, Il trovatore and La traviata in 1851-1853. It’s shown clearly that Verdi has a highly innovative spirit in the material of drama and he drew those roles in the operas with very impressed psychological condition. On the other hand Verdi mostly obeys Italian customary forms—“number operas” and “solita forma” in organization lyric numbers. As a matter of fact Verdi used conventional pattern, and in a manner, he transformed it gently and gradually. He hardly tried any innovative method differently to enhance dramatic momentum and accomplish his melodrama.
In the thesis consists of six chapters. Chapter One mentions Basevi’s background. Chapter Two gives definitions of “La solita forma” in different viewpoints, and treats of Rossini’s organization of arias, duets, and central finales, reviews their design. Chapter Three, Four and Five give a discussion on the application and reforms of “La solita forma” in three operas. Chapter Six concludes Verdi’s various techniques for convention improvement.
Base on this thesis, Tradition and Innovation elements in Verdi’s operas have been realized and analyzed discreetly.

參考書目
一、 中文資料
陳榮貴。《威爾第歌劇「遊唱詩人」的研究》。台北：全音，1995。

陳榮貴。《威爾第歌劇「弄臣」的研究》。台北：全音，1988。

羅基敏。《文話/文化音樂》。台北：高談，1999。

居其宏。《歌劇美學論綱》。合肥：安徽，2002。

張筠青。《歌劇音樂分析》。北京：高等教育，2004。

高士彥。《歌劇的藝術大師：威爾第》。台北：世界文物，2001。

劉志明。《西方歌劇史》。台北：全音樂譜，1992。

劉詩嶸、吳祖強（主編）。《威爾第：茶花女》。台北：世界文物，2000。

李振邦。《威爾第》。台北：希望，1972。

林蔭清。《義大利文藝術歌曲及歌劇選曲I》。台北：樂韻，1988。

林蔭清。《義大利文藝術歌曲及歌劇選曲II》。台北：全音樂譜，1992。

劉詩嶸、吳祖強（主編）。《威爾第：遊唱詩人》。台北：世界文物，2002。

洪明君。〈威爾第歌劇《茶花女》---女主角「薇奧雷塔」的分析〉。國立臺北藝術
大學音樂學系碩士論文，2004。

二、英文資料
Baldini, Gabriele. The story of Giuseppe Verdi --Oberto to Un Ballo in Maschera. New York: Cambridge University Press, 1980.

Balthazar, Scott Leslie. ”The Forms of The Set Pieces.” In The Cambridge Companion to Verdi, ed. Scott Leslie Balthazar, Cambridge: Cambridge University Press, 2004: 236-266.

. “Evolving Conventions in Italian Serious Opera: Scene Structure in the Works of Rossini, Bellini, Donizetti, and Verdi 1810-1850. ” Ph. D. Dissertation, Pennsylvania University, 1985.

. ” Analytic Contexts and Mediated Influences: The Rossinian Convenienze and Verdi’s Middle and Late Duets.” Journal of Musicological Research 10, (1990): 19-46.

. “Mayr, Rossini, and the Development of the Early Concertato Finale” Journal of the Royal Musical Association 116, no.2 (1991): 236-266.

Budden, Julian. The operas of Verdi I From Oberto to Rigoletto. New York: Oxford University, 1992.

. The operas of Verdi II From Il Trovatore to La Forza del Destino. New York: Oxford University, 1992.

. Verdi. New York: Schirmer Books, 1996.

. “Verdi and the Contemporary Italian Operatic Scene.” In William Weaver & Martin Chusid, eds. The Verdi Companion. New York: W.W. Norton & Company, 1979: 67-105.

Edgecombe, Rondney. Stenning. ”Some Observation on the Love Duets in La Traviata.” The Opera Quarterly 21, (2005): 217-221.

Gossett, Philip. “Gioachino Rossini and the Conventions of Composition. ” Acta Musicologica 42,(1970): 48-58.

. “The ‘Candeur Virginale’ of ‘Tancredi.’” Musical Times 121, (1971): 326-329.

. “Verdi, Ghislanzoni, and Aida: The Uses of Convention.” Critical Inquiry 1, (1974): 291-334.

. “Gioachino Rossini and the Conventions of Composition.” Acta Musicologica 42, (1970): 48-58.

Heartz, Daniel. “The Creation of the Buffa Finale in Italian Opera.” Proceedings of the Royal Musical Association 104 (1977-79): 67-78.

Kerman, Joseph. Opera as drama. California: University of California, 1988.

Kimbell, David. Verdi in the Age of Italian Romanticism. New York: Cambridge University, 1981.

. Italian Operas. New York: Cambridge University, 1991.

Osborne, Charles. The Complete Operas of Verdi. New York: Da Capo Press, 1969.

Parker, Roger. ”’Insolite Forme,’ or Basevi’s Garden Path.” In Leonora’s Last Act, ed. Roger Parker, New York: Princeton University Press, 1997: 42-60.

. Music in the Theater. United Kingdom: Princeton University Press, 1994.

Powers, Harold. ”La solita forma “and “The Uses of Convention”. Acta Musicologia 59, (1987): 65-90.

La Rosa, Joseph Salvatore. “Formal convention in Verdi’s FALSTAFF. ” Ph.D.Dissertation,Louisiana State University, 2006.

三、樂譜
Verdi, Giuseppe: Il Trovatore. (1994). New York: Dover.

Verdi, Giuseppe: Rigoletto. (1999). Italy: Ricordi.

Verdi, Giuseppe: La Traviata. (1990). New York: Dover.

四、網路
William and Gayle Cook Music Library http://www.dlib.indiana.edu/variations/scores/scores.html
Karadar Classical Music
http://www.karadar.com/Default.htm