在十九世紀百花齊放、多采多姿的浪漫樂派時期，羅勃特．舒曼（Robert Schumann, 1810-1856）為十分具代表性的德國音樂家。舒曼在學習與創作的路上，受到許多音樂大師影響、文學思想的啟發，加上與生俱來的天賦與敏銳度，使他在鋼琴音樂的創作中展現了無拘無束、充滿想像力的獨特風格。
在舒曼的創作生涯中，德國文學家尚．保羅（Jean Paul, 1763-1825）對他的影響尤其深遠，且帶給他創造虛構角色的靈感—積極外向的弗羅倫斯坦（Florestan）與溫和內省的歐澤比烏斯（Eusebius），讓他矛盾的內心世界得到寄託。這兩個對比角色也成為他文學評論與音樂創作的發言人，經常出現在他的文章和樂曲中。《大衛同盟舞曲》便是一個最佳範例，鮮明的對比性格穿梭在十八首小品中，筆者期盼能透過研究此作品更加了解舒曼的創作特色以及在樂曲中賦予的心境，進而對演奏詮釋有充分的體悟。
本論文於第一章提出研究此作品之動機與展演理念，並說明研究方法與學理基礎參考；第二章探討舒曼鋼琴音樂的分期特色以及他所創作的性格小品；第三章陳述《大衛同盟舞曲》的創作背景以及將樂曲特色作分析統整；第四章針對演奏此作品時的各種詮釋面向作探討與整合；最後於第五章歸納出結論。

Robert Alexander Schumann (1810-1856) was one of the representative German musicians in the splendid romantic period in nineteenth-century. Schumann was influenced by many music masters and inspired by literary ideas on the way of learning and composition, coupled with his innate talent and sensitivity, which made his piano music show a unique style that is unrestrained and imaginative.
During Schumann’s creative career, the German writer, Jean Paul (1763-1825) made a profound impact on him, particularly, and inspired him to create fictional characters—the positive and extroverted Florestan and the mildly introspective Eusebius, which gave his contradictory inner world a sustenance. These two contrasting characters have also become his spokesperson of literary criticism and music composition, and frequently appear in his articles and compositions. The Davidsbündlertänze, Op. 6 is a perfect example. The sharp contrasting characters are shuttled through the eighteen pieces. The author hopes to learn more about Schumann's composition features and the mood he imparts in the music by studying this piece, and have a well understanding of performance interpretation.
The first chapter puts forward the research motivation and performance concept of this work, and explains the research method and theoretical reference; the second chapter discusses the periodical characteristics of Schumann's piano music and the character pieces he composed; The third chapter tells about the background of the Op. 6, and the analysis and integration of the characteristic of the piece; the fourth chapter discusses and integrates the performance interpretation of the Op. 6; finally, the fifth chapter concludes with a conclusion of the thesis.

一、樂譜
Schumann, Robert. Davidsbündlertänze, Op. 6. Leipzig: Breitkopf & Härtel Musikverlag, 1887.
Schumann, Robert. Davidsbündlertänze, Op. 6. München: G. Henle Verlag (Urtext), 2006.
二、外文資料
Brown, Clive. “Articulation Marks.” Grove Music Online. Oxford University Press. https://0-www.oxfordmusiconline.com.opac.lib.ntnu.edu.tw/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040671?rskey=LHPpyx (accessed February 20, 2022).
Brown, Maurice J. E. “Character Piece.” Grove Music Online. Oxford University Press. https://0-doi.org.opac.lib.ntnu.edu.tw/10.1093/gmo/9781561592630.article.05443 (accessed March 9, 2022).
Burkholder, J. Peter. A History of Western Music (Ninth Edition). New York: W. W. Norton & Company, 2014.
Chernaik, Judith. “Schumann's Doppelgängers: Florestan and Eusebius Revisited.” The Musical Times, Vol. 152, No. 1917 (Winter, 2011): 45-55. https://www.jstor.org/stable/41440730 (accessed July 31, 2021).
Chissell, Joan. Schumann. London: J. M. Dent & Sons Ltd, 1977.
Daverio, John and Eric Sams. “Schumann, Robert.” Grove Music Online. Oxford University Press. https://0-doi.org.opac.lib.ntnu.edu.tw/10.1093/gmo/9781561592630.article.40704 (accessed March 9, 2022).
Finson, Jon W. and R. Larry Todd, eds. Mendelssohn and Schumann. Durham: Duke University Press, 1984.
Gillespie, John. Five Centuries of Keyboard Music. New York: Dover, 1965.
Hinson, Maurice. Guide to the Pianist’s Repertoire. Bloomington: Indiana University Press, 2013.
Kaminsky, Peter. “Aspects of Harmony, Rhythm and Form in Schumann’s Papillons, Carnaval and Davidsbündlertänze.” PhD diss., University of Rochester, 1989. UR Research.
Kaminsky, Peter. “Principles of Formal Structure in Schumann's Early Piano Cycles.” Music Theory Spectrum, Vol. 11, No. 2 (Autumn, 1989): 207-225. https://www.jstor.org/stable/745936 (accessed Sep 23, 2021).
Kautsky, Catherine. “Eusebius, Florestan and Friends: Schumann and the Doppelgänger Tradition in German Literature.” American Music Teacher, Vol. 61, No. 2 (Oct. , 2011): 31-34. https://www.jstor.org/stable/43540628 (accessed July 31, 2021).
Kirby, F. E. Music for Piano: A Short History. Portland: Amadeus Press, 1995.
Moattar, Nasim. “Eusebius, Florestan, and Other Friends: Robert Schumann’s Use of Literary Figures in his Writings and Piano Compositions.” Master’s thesis, California State University, 2020. https://scholarworks.calstate.edu/downloads/w6634691q.
Ostwald, Peter. Schumann: The Inner Voices of a Musical Genius. Lebanon: University Press of New England, 1985.
Perrey, Beate, ed. The Cambridge Companion to Schumann. New York: Cambridge University Press, 2007.
Schumann, Robert. On Music and Musicians. ed. Wolff, Konard. trans. Rosenfleld, Paul. Berkeley: University of California Press, 1983.
Todd, R. Larry, ed. Nineteenth-Century Piano Music. New York: Schirmer Books, 1990.
Todd, R. Larry. Schumann and his World. New Jersey: Princedon University Press, 1994.
三、中文資料
Chissell, Joan.《舒曼鋼琴音樂》（Schumann Piano Music）。苦僧 譯。臺北：世界文物，1997。
Ostwald, Peter.《天使與魔鬼之舞：舒曼的一生》（Schumann: Music and Madness）。張海燕 譯。臺北：高談文化，2000。
林公欽。《舒曼鋼琴曲集》。臺北：四章堂，2005。
陳玉芸。《舒曼鋼琴代表作之研究》。臺北：全音，1991。
四、網路資料
Seiffert, Wolf-Dieter. “Schumann’s Metronome Markings. A bother or a benefit?” https://www.henle.de/us/music-column/schuhmann-jahr-2010/schumann-anniversary-2010/schumanns-metronome-markings-a-bother-or-a-benefit/ (accessed February 17, 2022).
五、影音資料
Anda, Géza. Troubadour of the Piano. Deutsche Grammophon GmbH, 2005. Apple Music streaming audio.
Pollini, Maurizio. Robert Schumannm: Davidsbündlertänze & Concert sans Orchestre. Deutsche Grammophon GmbH, 2001. Apple Music streaming audio.
Schiff, András. Solo Piano Music. Warner Classics, Warner Music UK, 2007. Apple Music streaming audio.