二十世紀的音樂風格主要分為兩個方向：一為打破調性觀念，嘗試新創作手法的先鋒派，另一則是回歸傳統的保守派。相較於先鋒派的作品，保守派的聽眾群較少，傳世的作品也較不為人所知，然而在這樣創新思潮的年代，寫作調性音樂的保守派作曲家們，其實是很值得探討的，作曲家經過古典樂派與浪漫樂派的洗禮，運用新的音樂語法去創作古典型式的樂曲，統一中有變化。
本論文藉由韋利．赫斯的《為巴塞管及管弦樂團所作的協奏曲，作品116》，深入瞭解二十世紀的調性音樂，並研究巴塞管的源流與吹奏技巧，全文共分五個章節。第一章為緒論，闡述研究動機與方法。第二章為作曲家生平與二十世紀音樂風格。第三章整理巴塞管的歷史與著名作品。第四章分析此首作品及筆者在演奏詮釋的想法。第五章總結全文，闡述心得。
希望藉由以上之研究與分析，體會此首作品的演奏風格，深入瞭解二十世紀的調性音樂，並鑽研巴塞管吹奏技巧。

Willy Hess’s “Konzert für Bassetthorn und Orchester, op.116” was selected as the subject for this thesis for two reasons: to present the tonal music in twentieth century and to introduce the origin as well as the performing techniques of basset horn. Five chapters were included in the thesis. After Chapter one’s Introduction, Research Motive and Research Method, Chapter two elucidated Will Hess’s life, the music style of twentieth century. Chapter three introduced the history of basset horn and its famous works. Chapter four analyzed the work and concentrated on the author’s thoughts on interpretation. The last chapter summarized the whole thesis.
There are two main categories of twentieth century music: one is the avant-garde, who aimed to break the notion of tonality and tried new composing method; the other one is the conservatives, who strove to return to tradition. Compared to the avant-garde, the conservatives had much fewer audiences, and the preserved pieces are less well-known. However, during the time of innovation, composers who still wrote tonal music actually deserve recognition for they adopted new compositional language to create pieces in classical form.
The author believes that by doing the research, she could be familiar with the music style of this work, find out the essence of the tonal music in twentieth century, and finally make a progress on playing basset horn.

一、 中文書目

宋威德。《單簧管基本吹奏技巧之研究》。再版，桃園市：原笙國際，
2016。

安藤由典。《樂器的音響學》。鄭德淵 譯。台北：幼獅文化事業股份有 限公司，1989。

Ulrich Michels,《音樂圖驥》(dtv-Atlas Musik)，劉岠渭 主譯。台
北：小雅音樂有限公司，2006。

王詩萱。〈馬里奧‧卡斯泰爾諾沃-泰代斯科《單簧管與鋼琴的奏鳴曲》作
品編號128之演奏分析與詮釋〉。國立臺灣師範大學碩士論文，2015。

陳瑩蓉。〈貝拉‧柯瓦奇《向理查‧史特勞斯致敬》樂曲分析及詮釋－以
《迪爾的惡作劇》為分析之素材〉，2016。

陳姿吟。〈浦朗克《單簧管奏鳴曲》之樂曲探討與演奏詮釋〉。國立臺灣
師範大學碩士論文，2015。

郭炘筠。〈卡爾‧瑪麗亞‧馮‧韋伯《降E大調第二號單簧管協奏曲，作品七
十四》〉，2009。

許筱婕。〈謝克《低音單簧管奏鳴曲,作品四十一》作品研究與詮釋探
討〉，2012。

游明樺。〈費雷爾･費蘭《魔法森林》雙簧管協奏曲之樂曲分析與演奏詮
釋〉，2016。

謝書瑀。〈兩首歌劇主題單簧管幻想曲 ―《弄臣單簧管幻想曲》及《茶花
女單簧管幻想曲》之樂曲分析、詮釋與比較〉。國立臺灣師範大學碩士
論文，2016。

 
二、 西文書目
Baines, Anthony. Woodwind Instruments And Their History. New York: W.W.Norton &
Company.Inc., 1962.

Bryant, Michael. "About the basset horn." Clarinet & Saxophone 31, no. 4 (Winter 2006): 18-20. RILM Abstracts of Music Literature, EBSCOhost (accessed April 24, 2018).

Budden, Julian. The Master Musician Series Edited by Stanley Sadie: Verdi. New York: Oxford University Press, 1996.

Buxton, David, and Sue Lyon. The Great Composers their lives and times: A Beginner’s Guide to the Opera. Long Island: Marshall Cavendish Corporation, 1990.

Grout, Donald Jay. A History of Western Music 8thEdition. NewYork:W.W.Norton & Company, 2010.

Kostka, Stefan. Tonal Harmony with an Introduction to Twentieth-Century Music. New York: The McGraw-Hil Companies Inc., 2009.

Lawson, Colin. The Cambridge Companion to the Clarinet. New York: Cambridge University Press, 1995.

Machlis, Joseph. Introduction To Contemporary Music. New York: W.W.Norton & Company. Inc., 1961.

Pino, David. The Clarinet and Clarinet Playing. New York: Dover, 1998.

Salzman, Eric. Twentieth-Century Music: An Introduction, 4th ed. Upper Saddle River, NJ:
Prentice Hall, 2002.

Shackleton, Nicholas. 1987. "The earliest basset horns." The Galpin Society Journal 40, 2-
23. RILM Abstracts of Music Literature, EBSCOhost (accessed April 29, 2018).

Taruskin, Richard. The Oxford History of Western Music:The Nineteenth Century. vol.5. New York: Oxford University Press, 2005.