中提琴在西方音樂史上直至十九世紀以後才成為獨當一面的獨奏樂器，到了二十世紀經過樂器改良以及許多傑出中提琴演奏家出現，使得更多作曲家為中提琴創作樂曲，中提琴作品數量因而遽增，演奏技巧也隨之發展至極致，因此對於中提琴演奏者而言，研究新作品的演奏技巧成為重要課題。本論文藉由二十世紀後半葉三首經典獨奏作品，分別為貝里歐（Luciano Berio, 1925-2003）的《模進六》（Sequenza Ⅵ for Viola Solo, 1967）、潘德瑞茲基（Krzysztof Penderecki, 1933-）的《為獨奏中提琴的裝飾奏》（Cadenza per Viola Sola, 1984）以及李蓋悌（György Ligeti, 1923-2006）的《中提琴奏鳴曲》（Sonate for Viola Solo, 1991-1994），探討20世紀後半中提琴演奏技巧箇中奧妙，並藉由蓋詩•諾克斯（Garth Knox, 1956-）《中提琴空間》（Viola Space, 2009）和麥可•金伯（Michael Kimber, 1945-）《二十世紀音樂語法》（Twentieth-Century Idioms for Violists, 2012）兩本現代技法練習曲教本剖析，探討二十世紀音樂演奏技術的練習方法與應用方式。

In Western classical music, the viola only began developing into a solo instrument in the 19th century. In the 20th century, with modifications on the instrument and the emergence of a great number of brilliant violists, an increasing number of composers were writing for the viola. The number of works for the viola increased rapidly, and the development of its performance techniques reached extreme heights. It is therefore important to a violist to study and analyze the performance techniques in new works. This paper seeks to examine the distinctive aspects of the performance techniques for the viola in the latter half of the 20th century, by focusing on three standard solo pieces from the period: Luciano Berio’s (1925-2003) Sequenza VI for Viola Solo (1967), Krzysztof Penderecki’s (1933-) Cadenza per Viola Sola (1984) and György Ligeti’s (1923-2006) Sonate for Viola Solo (1991-1994). The paper will also refer to two sets of études analyzing modern performance techniques: Garth Knox’s (1956-) Viola Space (2009) and Michael Kimber’s (1945) Twentieth-Century Idioms for Violists (2012), in examining the practice methods and application of 20th-century performance techniques.

中文書目：

潘皇龍。《現代音樂的焦點》。台北：全音出版社，2000。

楊瑞瑟。《二十世紀末四首中提琴精華樂曲分析研究》。台北：師大書苑，2010。

中文期刊：

陳國修。〈波蘭的音樂良心—Krzysztof Penderecki〉。《音樂月刊：唱片評鑑》
No. 205(十月號，1999)：41-43。

劉明仁。〈波蘭前衛作曲家潘德瑞基〉。《古典音樂》No. 43(九月號，1995)：42-44。

中文論文：

付水淼。〈巴托克《中提琴協奏曲》和利蓋蒂《中提琴無伴奏奏鳴曲》對中提琴演奏技術發展的貢獻〉。上海音樂學院碩士論文，2010。

江昭穎。〈李蓋悌《無伴奏大提琴奏鳴曲》作品之樂曲分析與演奏詮釋探討〉。國立交通大學碩士論文，2011。

徐昌俊。〈魯契亞諾•貝里奧的十三首《模進》〉。上海音樂學院博士論文，2005。

陳鴻鐸。〈利蓋蒂結構思維研究〉。上海音樂學院博士論文，2007。

曾榮。〈捷爾吉•里蓋蒂《中提琴無伴奏奏鳴曲》作品分析與演奏風格探究〉。華南理工大學碩士論文，2014。

蘇鈺卿。〈《LIGETI的音樂創作與理念分析》〉。臺灣師範大學碩士論文，2001。

英文書目：

Brindle, Reginald Smith. The New Music: The Avant-garde since 1945. 2nd ed. New York: Oxford University Press, 1987

Bylander, Cindy. Krzysztof Penderecki: A Bio-Bibliography. London: Praeger Publishers, 2004.

Griffiths, Paul. György Ligeti: The Contemporary Composer. London: Robinson Books, 1983.

________. György Ligeti, The Contemporary Composer. 2d ed. London: Robinson Books, 1997.

Halfyard, Janet K. ed. Berio’s Sequenzas: essays on performance, composition and Analysis. England: Ashgate Publishing, 2007.

Jacobson, Bernard. A Polish Renaissance . London: Phaidon Press Limited, 1996.

Osmond-Smith, David. Berio. New York: Oxford University Press, 1991.

Schwinger, Wolfram. Krzysztof Penderecki: His Life and Works. Mainz: B. Schott’s Sohne, 1989.

Steinitz, Richard. György Ligeti : music of the imagination. Boston: Northeastern University Press, 2003.

英文期刊：

Glick, Jacob. “An Overview of Twentieth-Century Viola Works: PartⅠ.” Journal of the American Viola Society 17/1 (2001):17-23.

________. “An Overview of Twentieth-Century Viola Works: PartⅠ.” Journal of the American Viola Society 17/2 (2001):15-17.

Robinson, Ray. “Penderecki’s Musical Pilgrimage.” Studies in Penderecki vol. 1(1998): 45-47.

Schwinger, Wolfram. “Changes in Four Decades: The Stylistic Paths of Krzysztof Penderecki.” Studies in Penderecki vol. 1(1998): 65.

Steinitz, Richard. “ The Study of Composers’ Sketches, and an Overview of those by Ligeti.” Contemporary Music Review vol. 31 Issue 2/3 (April 2012): 115-134.

Uscher, Nancy. “Luciano Berio, Sequenza Ⅵ for Solo Viola: Performance Practices.” Perspective of New Music vol. 21 (1982-83): 286-293.

英文論文：

Reiter, Erica Amelia. “Krzysztof Penderecki's Cadenza for Viola Solo as a Derivative of the Concerto for Viola and Orchestra: A Numerical Analysis and a Performer's Guide ” DMA. diss., University of Arizona, 1997.

Tsilimparis, Spyridon. “Analysis of Luciano Berio’s Sequenza Ⅵ for Viola.”Ph. D. diss., University of Surrey, 2016.

樂譜：

Berio, Luciano. Sequenza VI. London: Universal Edition, 1970.

Hindemith, Paul. Sonata for Viola Solo op.25 no.1. Mainz: Schott Music International, 1969.

Kimber, Michael. Twentieth-Century Idioms for Violists. Iowa: SoundpointMusic, 2012.

Knox, Garth. Viola Spaces: Contemporary Viola Studies VolumeⅠ. Mainz: Schott Music International, 2009.

Legeti, György. Sonate for Viola Solo. Mainz: Schott Music International, 2001.

Penderecki, Krzysztof. Cadenza per Viola Sola. Mainz: Schott Musik International, 1986.