盧托斯拉夫斯基是二十世紀重要的波蘭作曲家，其藝術被認為對歐洲音樂遺產具有傑出的貢獻，在當代音樂史上有著舉無輕重的地位。他在當時許多作曲家皆大膽宣示他們的音樂理念時，同在激進與創新的風潮下，理念卻與之不同（如：凱基(John Cage, 1912-1992、布列茲(Pierre Boulez, 1925-2016、史托克豪森(Karlheinz Stockhausen, 1928-2007），盧托斯瓦夫斯基適度建立自己的作曲技巧，使得聽眾在聆聽機遇音樂的同時，也能因為他所設計的音樂信號(Signal)，因此有依循的方向。盧托斯拉夫斯基的作曲風格從早期「新古典主義」(Neo-Classicism)受到巴爾托克(Bela Bartok, 1881-1945的影響，至後期受凱基作曲手法的啟發，他的作品涵蓋波蘭民謠元素、十二音列技法(Twelve-tone Technique)與機遇音樂(Aleatory Music)等應用，與戰後先鋒派那股激進的創新作曲手法保持著重要的距離，使得其走出自我的音樂風格。
本文將係以盧托斯拉夫斯基重要代表作品《弦樂四重奏》(String Quartet, 1964)，檢視其音樂理念與慣用的作曲手法，並從中觀察其創作受凱基的音樂美學影響與啟發，藉以探究此位作曲家的音樂語彙，進而將研究所得，體現且拓展自身創作的可能性。

Witold Roman Lutosławski was a major Polish composer of the twentieth century. His profound contribution to the European musical tradition has been considered profound and he stands as one of the significant figures in the history of contemporary music.
Lutosławski flourished during a time when aggressive and innovative trends were predominant, and composers boldly stated their aspirations toward music. However, Lutosławski distanced himself from the likes of John Cage (1912-1992), Pierre Boulez (1925-2016) and Karlheinz Stockhausen (1928-2007) and chose a more conservative approach. He built his compositional repertoire in a modest fashion that would allow his audience to identify musical "signals" and take them as guidance as they chance upon his music. Lutosławski's compositional style was influenced by the Neo-Classicist Bela Bartok (1881-1945), and then became inspired by Cage's compositional techniques. There is a considerable range of elements integrated into his musical scores, including traditional Polish ballads, the application of twelve-tone techniques, and aleatory music while maintaining distance from the avant-garde style of the post-war pioneers. He eventually took on a new and unique path following this model.
This study examines the musical concepts and commonly-used compositional techniques observed in representative works from each of Lutosławski's significant compositional periods (such as the String Quartet, 1964). The focus of observation is on how he became influenced and inspired by Cage's musical aesthetics and how he expanded his musical vocabulary. The study contributes to the expansion of this author's projects by expanding the range of compositional possibilities.

ㄧ、中文專書
吳源鈁。《盧托斯拉夫斯基二首作品的研究》。台北市：全音樂譜出版社，1989。
連憲升。《我的音樂語言技巧》(Technique de mon langage musical)。法國Alphonse Leduce公司，1992。

二、西文專書
Lutosławski, Witold. Lutosławski on Music. Lanham, Md: Scarecrow Press, 2007.
Rae, Charles Bodman. The Music of Lutosławski. London: Omnibus Press, 1999.
Stucky, Steven. Lutosławski and His Music. Cambridge [Eng.] ; New York: Cambridge University Press, 1981.
Stainislaw Bedkowski&Stanislw Hrabia, Witold Lutoslawski:A Bio-Bibliograpgy. (London: Green Wood, 2001)
Tadeusz Kaczyński, Conversations with Wotold Lutoslawski. (London: Chester Music, 1984.)
Varga, Bálint András. Lutosławski Profile. London: Chester Music, 1976.

三、學位論文
許芳銘。〈盧托斯瓦夫斯基《舞蹈前奏曲》之樂曲分析及演奏詮釋〉。臺北市立大學音樂學系碩士論文。2017。
賴亭樺。〈盧托斯瓦夫斯基《威尼斯遊戲》之分析研究與自我音樂創作之運用〉。臺北市立大學音樂學系碩士論文。2016。

四、電子期刊
Gieraczyński, Bogdan, and Witold Lutoslawski. "Witold Lutoslawski in Interview." Tempo, New Series, no. 170 (1989)

五、網路資料
國家教育研究院雙語詞彙、學術名詞暨辭書資訊網。http://terms.naer.edu.tw/
台灣博碩士論文加值系統
http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/ccd=PJYQh7/login?jstimes=1&loadi ngjs=1&userid=guest&o=dwebmge&ssoauth=1&cache=1439300873495 (April 26, 2020.)
A Witold Lutoslawski Resource,
http://www.lutoslawski.org.pl/en/

六、樂譜
Lutosławski, Witold. String Quartet. London: Wilhelm Hansen London Ltd, 1970.