浦羅柯菲夫(Serge Prokofiev, 1891-1953)為二十世紀音樂史上不可或缺的重要人物，創作生涯豐富且涵蓋了廣泛作品。其中，鋼琴奏鳴曲為二十世紀重要的鋼琴文獻，學者銀森(Maurice Hinson, 1930-2015)指出：「浦羅柯菲夫的九首奏鳴曲及大約一百多首的個性小品是二十世紀鋼琴音樂最珍貴的獻禮。」 在創作風格上，浦氏一方面並未過分追求新奇的形式，另一方面又避免創作上的墨守成規；一方面繼承發揚古典音樂之傳統，另一方面又創造出屬於浦羅柯菲夫一己之音響與色彩。他曾說過自己創作的五項要素包括古典、新穎、觸技、怪異諷刺及抒情風格，浦羅柯菲夫以這五項要素的創作風格奠定了在二十世紀初期的音樂地位。

《第八號鋼琴奏鳴曲》為浦羅柯菲夫晚期的作品，結構龐大。有別於早期以富有戲劇性及張力的鋼琴奏鳴曲，此曲之抒情性與內涵展現出其獨有的特質。它旋律線條的單純性及旋律素材上特別的應用亦是此曲特別之處。藉由《第八號鋼琴奏鳴曲》之研究，希望更能認識浦羅柯菲夫在音樂作品中展現的多樣風貌以及他獨特的創作手法。
本文共分為五個章；第一章為緒論，包含研究動機、研究目的和研究方法與範圍；第二章為浦羅柯菲夫的音樂風格之養成，概述浦氏的時代背景、生平並陳述浦氏自述之五種創作風格。另外，從浦羅柯菲夫人生中的重要人物其中去了解對他音樂創作風格上的影響；第三章為《第八號鋼琴奏鳴曲》之音樂分析，以多方觀點探究此曲樂曲結構、調性、和聲、織度和旋律的音樂分析；第四章為《第八號鋼琴奏鳴曲》之演奏詮釋，從旋律、節奏、織度層面探討；第五章為結論。

藉此作品的分析與研究，探討浦羅柯菲夫的音樂內涵，並理解其作品背後的意涵和情感，期能在實際演奏上更貼近浦氏的音樂風格。

Serge Prokofiev (1891-1953) stands as an indispensable figure in the history of the twentieth century music. He composed various types of works throughout his lifetime, among which the piano sonatas remain as important piano repertoire of the twentieth century. Maurice Hinson (1930-2015) pointed out that “Prokofiev's nine sonatas and about more than a hundred-character pieces are the most valuable tribute to piano music of the twentieth century.”

As to the style, Prokofiev has avoided pioneering the exaggerations, while keeping compositions conservatively; in other words, he has kept and inherited the traditions of the classical style, while creating the new, colorful acoustic style of his own. He once said that the five elements of his compositional writing were classicism, innovative, toccata or motor elements, grotesqueness style, and lyrical elements. These five basic ideas were Prokofiev's fundamental principles of music writing and has made Prokofiev’s music playing a significant role of the early twentieth century.
The Piano Sonata No. 8 was composed in Prokofiev’s late years, different from the earlier piano sonatas that characterized by dramatic tension, this work is particularly special for its melodic lyricism. It emphasizes on the lyrical melodic lines, and the intelligibility of the elements used to form the melodies. This thesis grabs a closer understanding to Prokofiev’s musical works of different styles and composition techniques.

This written report consists of five chapters. Chapter one is a prologue, including research motivation, research method and scope of research. The second chapter is about the development of Prokofiev's musical style, a summary of Prokofiev's biography, and elucidation on the five compositional principles described by Prokofiev himself, and the influence of Prokofiev’s musical style from the important figures in Prokofiev’s life; Chapter three is the music analysis of his Piano Sonata No. 8, analyzing the structure, tonality, harmony, texture and melody of the piece. Chapter four is the discussion of the performance interpretation of the work. Chapter five is the conclusion.

Through the analysis and research of this work, we can comprehend the insights of Prokofiev's music and the meaning behind getting us closer to interpretate his music.

一、樂譜
Prokofiev, Sergei. Serge Prokofieff Sonatas for Piano. Volume Two, Sonatas 6-9, Authentic Edition introduction and performance notes by Peter Donohoe. London: Boosey & Hawkes Music Publishers, 1985.
普羅高菲夫。浦羅高菲夫奏鳴曲集。台北：全音出版社，1900。
IMSLP Music Library https://imslp.org/

二、外文專書
Berman, Boris. Prokofiev's Piano Sonatas: A Guide for the Listener and the Performer. New Haven: Yale University Press, 2008.
Fiess, Stephan C.E. The Piano Works of Serge Prokofiev. New York: Dover, 1981.
Gillespie, John. Five Centuries of Keyboard Music: An Historical Survey of Music for Harpsichord and Piano. Belmont, CA: Wadsworth, 1972.
Minturn, Neil. The Music of Sergei Prokofiev. New Haven: Yale University Press, 1997.
Robinson, Harlow. Sergei Prokofiev: A Biography. Boston: Northeastern University Press, 2002.

三、外文期刊及論文
Hughes, Walden. “Prokofiev and the Piano.” Clavíer 30, no. 4 (Apr. 1991): 14-19.
Merrick, Frank. “Prokofiev’s Piano Sonatas.” Proceedings of the Royal Musical Association 75 (1948–1949): 13–21.
Ozolins, Rudolfs. “Prokofiev’s Piano-Sonata No.8: A Realistic Portrayal of The Composer’s Life In The Soviet Union” Michigan State University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (2013).
Wang, Siwen. “A Brief Analysis of Prokofiev’s Three Later Piano Sonatas” Advances in Social Science, Education and Humanities Research, volume 311 (2019).

四、中文專書
林明慧。《力・美・浦羅柯菲夫》。桃園：原笙國際股份有限公司，2009。
許鐘榮。《古典音樂400年－現代樂派的大師》。台北市：錦繡，2000。
鮑利斯・柏曼(Boris Berman)，孫樹文譯。《浦羅柯菲夫鋼琴奏鳴曲》。桃園：原笙國際股份有限公司，2018。
蔡佳憓。《普羅高菲夫鋼琴奏鳴曲中奏鳴曲式的傳承與創新》。台北：全音樂
譜，2014。
顧德曼・大衛(David Gutman)著，白裕承譯。《普羅高菲夫》(Prokofiev)。台北：智庫出版，1996。

五、中文期刊及論文
王郁菁。<普羅高菲夫戰爭奏鳴曲分析與比較>。碩士論文，台北藝術大學音樂系碩士班，2005。
張雅斯。<普羅高菲夫鋼琴奏鳴曲作品28之分析與詮釋>。碩士論文，輔仁大學藝術學院音樂研究所，2002。
張蕙慧。<想像的本質及其在音樂審美活動的效用探析>。《新竹師院學報》第十四期（民國90年）：281-301。https://edujou.site.nthu.edu.tw/var/file/128/1128/img/1172/14-9.pdf

六、網路資料
Angelich, Nicholas. PROKOFIEV, S.: Piano Sonata No. 8 / Visions fugitives / 10 Pieces from Romeo and Juliet (excerpts) (Angelich). NAXOS, Released on: 2021-01-22. <https://0-ntnu-naxosmusiclibrary-com.opac.lib.ntnu.edu.tw/catalogue/item.asp?cid=190295267667 >
Jstor
https://www.jstor.org/stable/24615809?searchText=prokofiev&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dprokofiev&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3Aa4ae105888d18d680910a78300287d2d
Redepenning, Dorothea. "Prokofiev, Sergey." Grove Music Online. 2001; Accessed 18 Sep. 2023.< https://0-www-oxfordmusiconline-com.opac.lib.ntnu.edu.tw/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000022402.>
國家教育研究院雙語詞彙、學術名詞暨辭書資訊網https://terms.naer.edu.tw/