音樂與文學，跨越了歷史的鴻溝、保留了當代的藝術，並作為永無界線的橋樑。筆者於此次研究，不僅旨在挑戰十九世紀後浪漫樂派的音樂，更基於對詩詞的深厚熱愛，致力於從字裡行間推敲探索文字意涵，與層層深入分析詩詞篇章背後的奧妙，故選擇研究理查．史特勞斯 (Richard Strauss, 1864-1949) 的小提琴作品。
自華格納 (Richard Wagner, 1813-1883) 將音樂與文學結合，並以大型樂劇展現，理查．史特勞斯更進一步將器樂曲與交響詩帶至登峰造極的境界。這些饒富詩意與意象的艱深作品，對演奏者極具挑戰性。無論是演奏前對樂曲分析與理解的知識，演奏中對技巧與詮釋的琢磨，演奏後對鑑賞或統整的能力，筆者認為缺一不可，在樂曲橫向旋律與縱向和聲一齊同步出現時，不僅要克服演奏的技巧，於腦中的迴路更要清晰主題與聲部之間的脈絡，實屬不易。
十九世紀後浪漫作曲家眾星雲集，筆者曾在演奏馬勒 (Gustav Mahler, 1860-1911)《第四與第五號交響曲》(Symphony No. 4 and 5) 時，驚豔其配器聲響的豐富亮麗，並感受其調性對演奏者的考驗，然而卻未能清晰透徹樂曲的深層內涵。此次選擇同時兼具小提琴演奏背景的理查．史特勞斯，希望嘗試了解陌生與充滿驚喜的後浪漫樂派。從純粹與清晰的古典樂派，走進華麗與馥郁的浪漫樂派；以經典架構的先備知識，探索變化多端的大型篇章。筆者將從研究理查．史特勞斯的小提琴奏鳴曲開始，一步步邁進瑰麗壯闊的交響詩；以小提琴在室內樂中與管弦樂中所扮演的不同角色為研究方法，探索「邏輯」與「詩」的密碼。

Music and literature span the divide of history, preserving contemporary art and serving as an endless bridge. In this study, the author, driven by a desire to challenge the romantic music of the 19th century and a fondness for poetry, seeks to explore the meaning of words between the lines and delve into the mysteries behind the layers of poetry and prose. Thus, the author has chosen to study the violin works of Richard Strauss.
Since Wagner's fusion of music and literature in large-scale operas, Richard Strauss has elevated instrumental music and symphonic poems to new heights. These profound works, rich in poetry and imagery, present significant challenges for performers. The author believes that a thorough understanding and analysis of the music, careful consideration of technique and interpretation during performance, and the ability to appreciate and integrate these elements afterward are all essential. When horizontal melodies and vertical harmonies appear simultaneously in the music, it is crucial not only to overcome technical challenges but also to clearly understand the connections between each melody and harmony—an endeavor that is no easy task.
While many 19th-century romantic composers left their mark, the author, through performing Mahler's Symphony No. 4 and 5, was struck by the richness and brilliance of the orchestration and the challenging tonality for performers, yet struggled to fully grasp the depth of the music. By focusing on Richard Strauss, who also had a background in violin performance, the author hopes to explore the unfamiliar and surprising world of late Romanticism. Transitioning from the purity and clarity of the Classical era into the splendor and richness of the Romantic period, and using a foundation in classical structures, the author aims to investigate the large-scale compositions of this era. The study will begin with Strauss's violin sonatas and progressively explore his magnificent symphonic poems, utilizing the different roles of the violin in chamber music and orchestral settings as a methodological approach to decode the elements of "logic" and "poetry."

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Strauss, Richard. Sonate Es-dur Opus 18. Edited by Ulrich Kramer. München: G. Henle Verlag, 2019.
Tsai, Pei-Chun. “Richard Strauss's Violin Writing in His Early Years from 1870 to 1898—The Influence of The Violin Sonata.” D. M. A. diss., City University of New York, New York, 2010.
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