史特勞斯（Richard Strauss, 1864-1949）承襲李斯特（Franz Listz, 1811-1886）提出的交響詩理念，於十九世紀末將此樂種再次發揚光大。而《馬克白》（Macbeth）、《唐璜》（Don Juan）與《死與淨化》（Tod und Verklärung）是史特勞斯與音樂古典時期的絕對音樂交響曲背道而馳、初次踏入交響詩世界的作品。從史特勞斯的創作歷程來看，他前半輩子創作交響詩，中晚年專注於歌劇創作；音樂中的「戲劇」因子，則是史特勞斯從純器樂作品轉向至創作戲劇舞台作品的關鍵因素。
論文共分五章，分別從作品的形式、主題設計與管弦樂法等創作層面，探討史特勞斯灌注在早期三部「音詩」作品中蠢蠢欲動的戲劇創作思維；以及作曲家如何藉由音樂與文學結合的方式，讓表面看似堅固的奏鳴曲式一步步邁向瓦解。第一章從李斯特與史特勞斯的交響詩談起，而後探討史特勞斯創作生涯中，擺盪於交響詩與歌劇間的經歷，最後聚焦呈現在三部作品的創作時空背景；第二章至第四章，則分別詳盡探討三部作品本身的創作手法，及其與文學作品的關係；第五章為結論，提出奏鳴曲式框架中的音符，依然蘊含栩栩如生戲劇圖像之觀點。

Richard Strauss inherited the theory of symphonic poem brought by Liszt; he enhanced and glorified it in the end of nineteenth century. Macbeth, Don Juan, and Tod und Verklärung, three works composed by Strauss, deviate from the absolute music of classicism and enter into the world of symphonic poem for the first time. As for the Strauss’s composition career, he composed the works of symphonic poem in his first-half of life and then centered on composing opera in latter part of his life. It is the “theatrical” elements in music that reveal Strauss’s composition type from instrumental works to theatrical and stage works.
In order to discuss Strauss’s thought on theatrical composing, which was perfused in the three “tone poems” of his early stages works, there are five chapters devoted in this thesis, each from different aspects of analyzing the form of work, the design of music theme, and instrumentation. Besides, this thesis also reveals how the composer made the seemingly hard structure of sonata form disintegrated step by step by examining the ways of combining music with literature. Chapter One starts from the views on the symphonic poems of Liszt and Strauss, it then discusses Strauss’s the composing experience swaying between the orchestral music and opera. Finally, it focus on the composing background of the three works mentioned above. From Chapter Two to Four, it represents detailing on the composing method of music itself and its relationship with literature. Chapter Five is conclusion, bringing out the view that there are still plenty vivid theatrical images in the frame of sonata form.

一、 中文書籍
梅樂亙。〈德國浪漫文學與音樂中音響色澤的詩文化〉，羅基敏 中譯，劉紀蕙（編）。《框架內外：藝術、文類與符號疆界》（輔仁大學比較文學研究所文學與文化叢書第二冊）。台北（立緒）1999，239-284。
Liszt, Franz.《李斯特論白遼士與舒曼》（Berlioz and his HAROLD Symphony, Robert Schumann），張洪島、張洪模、張寧　譯。台北：世界文物出版社，1994。
Nice, David.《理察‧史特勞斯》（Richard Strauss）。劉瑞芬、蕭美惠、尹鴻智 譯。台北：智庫文化，1996。
Shakespeare, William.《馬克白》（Macbeth）。朱生豪 譯（臺北：世界書局，1996）。

二、 外文書籍
Ashley, Tim. Richard Strauss. London: Phaidon Press Limited, 1999.
Blaukopf, Herta ed. Gustav Mahler, Richard Strauss. Translated by Edmund Jephcott, 1984. Chicago: The University of Chicago Press, 1984; Phoenix Books, 1996.
Boyden, Matthew. Richard Strauss. Boston: Northeastern University Press, 1999.
Brown, Calvin Smith. Music and Literature, A Comparison of the Arts. Athen: University of Georgia Press, 1948.
Dahlhaus, Carl. Esthetic of Music. Translated by William W. Austin. New York: Cambridge University Press, 1982.
________. Carl. Foundations of Music History. translated by J.B. Robinson. New York: Cambridge University Press, 1983.
________. Carl. Nineteenth-Century Music. Translated by J. Bradford Robinson. Berkeley: University of California, 1989.
Del Mar, Norman. Richard Strauss: A Critical Commentary on his life and Works. Ithaca, N.Y.: Cornell University Press, 1986.
Gilliam, Bryan Randolph. Richard Strauss: New Perspectives on the Composer and his Work. Durham: Duke University Press, 1992.
________. The Life of Richard Strauss. Cambridge, UK; New York, NY, USA: Cambridge University Press, 1999.
Gilliam, Bryan Randolph ed. Richard Strauss and his World. Princeton, N.J.: Princeton University Press, 1992.
Holoman, D. Kern. The Nineteenth-Century Symphony. New York: Schirmer Book/London: Prentice Hall International, c1997.
Kennedy, Michael. Strauss Tone Poems. BBC Music Guides. London: BBC Publications, 1984.
________. Richard Strauss. Oxford, England: Clarendon Press, 1995.
________. Richard Strauss: Man, Musician, Enigma. Cambridge, UK ; New York, NY, USA: Cambridge University Press, 1999.
Konold, Wulf (Hrsg.), Lexikon-Orchestermusik, Romantik, München: Schott, Piper, 1989.
Krause, Ernst. Richard Strauss: Gestalt und Werk. Munchen: Piper, c1988.
Newman, Ernest. Musical Studies. New York: Haskell House Publishers, 1969.
________. Richard Strauss. Westport, Conn, : Greenwood Press, 1970.
Nice, David. Richard Strauss. London: Omnibus Press, 1993.
Nieden, Hans-Jörg. Richard Strauss, Till Eulenspiegels lustige Streiche: Sinfonische Dichtung, op. 28. Heft 57, Meisterwerke der Musik. München: W. Fink, 1991.
Nikolaus Lenau. Dichterischer Nachlaß. ed. Anastasius Grün. Stugart und Tübingen: J. G. Cotta, 1851.
Schmid, Mark-Daniel ed. The Richard Strauss Companion. Westport: Praeger, 2003.
Specht, Richard. Richard Strauss und sein Werk. Leipzig [etc.] E. P. Tal & co., 1921.
Strauss, Richard. Betrachtungen und Erinnerungen. Edited by Willi Schuh. Schott Mainz: Piper München, 1981.
Walter, Michael. Richard Strauss und seine Zeit. Laaber: Laaber-Verlag, 2000.
Werbeck, Walter. Die Tondichtung von Richrd Strauss. Tutzing: Schneider, 1996.
Wilde, Denis Gerard. The Development of Melody in the Tone Poems of Richard Strauss: Motif, Figure, and Theme. Lewiston, N. Y.: E. Mellen Press, 1990.
Youmans, Charles Dowell. Richard Strauss’s Orchestral Music and the German Intellectual Tradition. Bloomington: Indiana University Press, 2005.
三、 學術論文
楊小華。〈論理查．史特勞斯三部刻劃戲劇性人物的音詩－《馬克白》、《狄爾的惡作劇》、《唐吉訶德》〉。國立中央大學碩士論文，1998。

四、 期刊
張淑英。〈花花公子或翩翩君子？唐璜的審判與救贖〉。《世界文學》，季刊（十一月號，2001）：36-56。
羅基敏。〈文類與曲式的互文：理查‧史特勞斯的《吉訶德》〉。《中外文學》，卅四卷第六期（十一月號，2005）：33-48。

五、 樂譜
Strauss, Richard. Macbeth. London: Ernst Eulenburg Ltd., 197?
Strauss, Richard. Richard Strauss Tone Poems, Series I. New York: Dover Publications, 1979.