二十世紀初的法國，主要以德布西為首的印象樂派主導整個音樂潮流，但是經歷了第一次世界大戰後，人們對音樂有了不一樣的訴求，對於印象音樂迷幻絢麗的色彩，以及繁複、過於精細的音樂語言感到乏味，因而追求另一種更冷靜，實在的音樂語言。於是便興起了一股反印象主義的風潮，其中以法國六人組最具代表，並在法國音樂中注入了一股新古典主義的潮流。
在新古典主義的影響下，浦朗克的創作並非一味地對古典崇拜，而是吸收了巴洛克、古典甚至更早以前的作曲技法，並對旋律與結構布局進行再創作，以呈現出精緻、風趣幽默的小型作品，其和聲明快，織體清晰，沿襲了古典音樂典雅精緻的美感。
浦朗克在創作此首小提琴與鋼琴奏鳴曲時正值二戰巔峰，當時他寫作了相當大量的作品，透過不斷的創作，除了是藉此維生以外，更是一種情緒的抒發，將戰爭帶來的緊張、不安與憂鬱寄託在音樂裡，音樂中所蘊含著強大的內在情緒張力，在此曲中也有著深刻地體現。
筆者之所以選擇浦朗克的小提琴與鋼琴奏鳴曲作為論文研究，除了演奏上此首作品為炙手可熱的曲目外，更期望自己在透過對此作品的深入研究後，能對浦朗克以及當時的整個時代背景，以至於音樂歷史上的影響做通透的了解，並期望在對歷史以及音樂的全盤深入探討後，能就演奏上的技法，以及詮釋上的要領，做一系列深入的闡述，進而提出自己對詮釋上的想法與演奏上的建議。

During the early 20th century in France, the start of the music trend was mainly under the Impression of Debussy. However, throughout the experience of World War l, everyone began to have a different appeal towards music. Perhaps music can be insightful, colourful and the meticulous language of each notes are tedious; therefore may represent as relaxation and calmness. Then, soon, there was a craze that a group of 6 whom represented France started to improvise the new taste of classical music.
Throughout this influence of new classical music, Poulenc's creations was not only under the adoration of classical's but mainly thoughts on Baroque. Classical music was created perhaps even earlier in the past, but since centuries are changing, the melody begin to have a twist to new creations. Notes are more clear, emotions coming out from the music are more crisp with grace and beauty.
During the major peak of World War ll, Poulenc had created his creations of Piano and Violet duet. He had written a massive amount of art and continuously create his work non-stop. This is not just about living for him, but since the war had caused him depression and insecurity, it was also a way to vent his temper.
As throughout the investigation of Poulenc's work, other than performing his pieces as top hits, the ability to understand Poulenc's personal background and history of music was a way to improve the technique in performance. The investigation had made myself learn a lot and build knowledge, yet some performance suggestions.

中文書目

李哲洋主編。《名曲解說全集17》。台北：大陸書店，1993。

林勝儀。《西洋音樂史－印象派以後》。台北：天同出版，1986。

楊沛仁。《音樂史與欣賞》。台北：美樂出版，2001。

中文論文

陳怡然。（浦朗克音樂分析與詮釋風格之研究－以十五首鋼琴及興曲為例）。國立
嘉義大學碩士論文，2013

蔡毅儒。（浦朗克拿勒薩的晚會作品研究）。國立臺灣師範大學碩士論文，2013。

外文書目

Buckland, Sidney, and Chimènes, Myriam. Francis Poulenc: Music, Art and Literature. Brookfield, USA: Ashgate Publishing Company, 1999.

Daniel, Keith W. Francis Poulenc: His Artistic Development and Musical Style. Michigan: UMI Research Press, 1982

Ivry, Benjamin. Francis Poulenc. London: Phaidon Press, 1996.

Keck, George Russell. Francis Poulenc: a Bio-bibliography. New York: Greenwood
Press, 1990.

Nectoux, Jean Michel et al., The New Grove Twentieth-Century French Masters: Faure,
Debussy, Satie, Ravel, Poulenc, Messiaen, Boulez. New York: Norton, 1986.

英文期刊

Chimènes, Myriam, and Sidney, Buckland. "Francis Poulenc: Music, art, and literature." Music & Letters 83, no. 4 (November 2002): 651-653.

Deeter, Alissa Walters, and Robert, Peavler. 2014. "The mélodies of Francis Poulenc: A study guide." Journal Of Singing: The Official Journal Of The National Association Of Teachers Of Singing 71, no. 1: 113-114.

Mellers, Wilfrid. "Francis Poulenc." The Musical Times 135, no. 1822 (December 1994): 766-767.

Nichols, Roger et al., "The New Grove twentieth-century French masters: Fauré, Debussy, Satie, Ravel, Poulenc, Messiaen, Boulez." The Musical Times And Singing Class Circular 128, no. 1727 (January 1987): 24-25.

Schmidt, Carl B., "Entrancing muse: A documented biography of Francis Poulenc." The Musical Times 144, no. 1883 (Summer 2003): 76-77.

外文論文

Laufers, Elizabeth Ann. "Francis Poulenc’s Ues of counterpoint in chamber and Piano Music." University of Minnesota, 1999.

Wernar, Warren Kent. "The Harmonic Style of Francis Poulenc." Universityt of Iowa, 1966.

網路資料
Oxford Music Online: www.oxfodmusiconline.com/

樂譜
Poulenc, Francis. Sonata for Violin and Piano. Paris: Max Eschig, 1944.