「鍵盤前奏曲」萌芽於十五世紀，為具有引導功能和即興風格的曲式。巴洛克時期巴赫在《十二平均律》奠定了前奏曲二十四個調性的傳統，而浪漫時期的蕭邦則在《二十四首前奏曲》中使前奏曲成為獨立、表達情感的小品。在前輩作曲家的薰陶之下，二十世紀的蘇聯作曲家蕭士塔高維契（Dmitri Shostakovich, 1906-1975）也創作了《二十四首前奏曲》作品三十四，並在此作品中展現出新古典主義的特質，將舊有的曲式賦予了新的意涵。本文以蕭士塔高維契《二十四首前奏曲》作品三十四為研究主題，以此了解鍵盤前奏曲之發展脈絡、蕭士塔高維契的作品風格，進而提出筆者對此作品的詮釋看法。
本文共分為六章：第一章為緒論，提出研究動機和方法；第二章為鍵盤前奏曲之發展脈絡，循著年代先後一一介紹個時期具指標性的前奏曲發展過程；第三章為蕭士塔高維契的鋼琴背景、鋼琴音樂特色與《二十四首前奏曲》的風格類型；第四章為二十四首前奏曲的樂曲分析，以樂曲結構、調性、調式和創作手法等切入觀點；第五章為詮釋探討，以性格與速度之間的關係、層次與音色，和節奏與語法三層觀點進行討論；第六章為結論，為全文的統整歸納。期待本文能夠使讀者和演奏者更貼近此作品，並欣賞其豐富的音樂內涵。

The genre "Keyboard Prelude" started in the fifteenth century, with its leading functions and improvisational style. During the Baroque period, J.S. Bach established the traditional twenty-four tonal keys of the preludes in The Well-Tempered Clavier. However, in the romantic period, Chopin made the preludes an independent and expressive short piece in the 24 Preludes. Under the influence and guidance of the prior renowned composers, the 20th century Soviet composer Dmitri Shostakovich (1906-1975) also composed the Twenty-four Preludes, Op. 34, and this work reveals the characteristics of neoclassicalism, giving the old style a new definition. In order to understand the development of the keyboard preludes and the style of Shostakovich’s works, this research is based on Twenty-four Preludes, Op. 34 by Shostakovich. The following research contains the author’s point of view toward the interpretation of Shostakovich’s piano preludes.
This thesis is divided into six chapters. The first chapter, preface, introducing the motive and method of the thesis. The second chapter is the development of Keyboard Prelude, following the timeline to introduce the developing processes of representative preludes in each time periods. The third chapter is concerned with the piano background and musical style of Shostakovich, and the types of styles in the Twenty-four Preludes, Op. 34. The fourth chapter, the musical analysis of Twenty-four Preludes, in terms of the musical structure, tonality, mode, and composing approach. The fifth chapter is the interpretation of Op. 34, discussing three dimensions: relationship between character and tempo, voice layer and timbre, rhythm and articulation. Summary and conclusion of the thesis are mentioned in the sixth chapter. I sincerely hope that this article will bring readers and performers a clearer and closer connection towards this work, and appreciate its rich musical expressions and insights.

一、樂譜

Shostakovich, Dmitri. 24 Preludes, Op.34. Hamburg: Musikverlage Hans Sikorski, 1960.

_____. Twenty-Four Preludes, Op.34. Moscow: DSCH Publishers, 2006.

二、有聲資料

Apekisheva, Katya. Mussorgsky / Shostakovich. ONYX 4085. 2012. CD.

Nikolayeva, Tatiana. Shostakovich: Three Fantastic Dances; 24 Preludes; Piano Sonata No. 2. Hyperion. 1992. CD.

Scherbakov, Konstantin. Dmitry SHOSTAKOVICH: Piano Sonata No. 1, 24 Preludes. Naxos 8.555781. 2003. CD.

Shostakovich, Dmitri. Classical Treasures Master Series, Vol. 3. BMG. 2014. CD.
 

三、中文參考書目

Volkov, Solomon。《見證—蕭士塔科維奇回憶錄》。叶琼芳 譯。北京：作家出版社，2005。

丹尼列維奇。《蕭斯塔科維奇傳-生平與創作》。焦東建 董茉莉 譯。北京：商務印書館，2011。

目黑惇。《J.S.巴赫》。林勝儀 譯。台北：美樂出版社，2000。

四、西文論文
Matthew J. Roy. The genesis of the Soviet prelude set for piano: Shostakovich, Zaderatsky, Zhelobinsky, and Goltz. Master Thesis. Eastern Washington University, 2012.

Tze F. Alfred Lee. Tonal Perspectives in the Selected Piano Preludes of Shostakovich(Op. 34: No.1, 3, 6, 14, and 24): An Analytical Study. Master Thesis. University of North Texas in Partial, 1994.

Yoon-Wha Roh. A Comparative Study of the Twenty-Four Preludes of Alexander Scriabin and Sergi Rachmaninoff. DMA diss.. Indiana University Jacobs School, 2015.

五、西文參考書目

Brown, Malcolm Hamrick. A Shostakovich Casebook. Bloomington : Indiana University Press, 2004.

Fanning, David. Shostakovich Studies. New York: Cambridge University Press, 1995.

Fay, Laurel. Shostakovich: A Life. New York: Oxford University Press, 2000.

Fay, Laurel. Shostakovich and His World. New Jersy: Princeton University Press, 2004.

Longman, Richard M.. Expression and Structure – Processes of Integration in the Large-Scale Instrumental Music of Dmitri Shostakovich, volume one. New York: Garland Publishing, Inc, 1989.

Macdonald, Ian. The New Shostakovich. Bosten: Northeastern University Press, 1990.

Martynov, Ivan. Dmitri Shostakovich, the man and his work. New York: Greenwood Press, 1947.

Moshevich, Sofia. Russian Music Studies: Shostakovich’s Music for Piano Solo: Interpretation and Performance. Bloomington: Indiana University Press, 2015.

Moshevich, Sofia. Dmitri Shostakovich, Pianist .Canada: McGill-Queen’s University Press, 2004.

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

Westerby, Herbert. The History of Pianoforte Music. New York: E. P. Dutton & CO., 1924.

六、網路資料

The Pennsylvania Gazette: ‘After the Prelude: Chopin Reconstructed’ <http://www.upenn.edu/gazette/1102/1102gaz7.html>