出生於十九世紀中後期的一位商人──艾伍士(Charles Ives, 1874-1954)，因 其創作的音樂作品極具實驗性和創新性，而被後世認定為二十世紀最重要的作曲家之一，其對音列和複調性等創作技巧之嘗試甚至比荀伯克、斯特拉溫斯基等著 名的作曲家來得更早。艾伍士亦在他的作品中大量援引本土音樂以及教會讚美詩的旋律，後更試圖以音樂本質的內容描繪美國人的共同經驗，使其作品帶有超前 且獨特的敍事性，而他對美國理想主義的思考亦使他成為首位真正意義上的美國本土作曲家。

本研究分為四個部分，第一部分主要探討艾伍士的生平背景，揭示艾伍士在 學習不同音樂傳統之下所受到的美學衝擊;第二部分以「新英格蘭超驗主義」思 潮和艾伍士的著作《在奏鳴曲之先的短文》作為起點，嘗試交代艾伍士成熟時期的美學判斷，以及由其所衍生的音樂形式;第三部分集中討論《第三號小提琴與 鋼琴奏鳴曲》的創作背景和樂曲分析;第四部分為樂曲之演奏詮釋研究，以樂譜 和上述研究論點歸納出更貼近作曲家原意的詮釋方式，並提供演奏上的建議。

A businessman born in the mid to late 19th century, later recognized as one of the most influential composers in the 20th century, Charles Ives’s works were incredibly experimental and innovative. His attempts to use composing skills such as serialism and polytonality were even earlier than those of Schönberg and Stravinsky, respectively. Ives also quoted a significant number of tunes from the vernacular music and church hymns. Later, he tried to depict American's collective experience through only the intrinsic nature of music, which made his narratives unprecedented at his time. Ives’s thought on American Idealism makes him, in the true sense, the first native American composer.

This study is divided into four parts. The first part mainly narrates the life background of Ives and reveals how the learning of different music traditions impacted his musical aesthetic; the second part starting with the then trend of thought “New England Transcendentalism”and Ives's book Essay Before a Sonata, attempts to account for Ives's aesthetic judgment in his mature works and the musical manners derived from it; the third part focuses on the background and musical analysis of Ives's Violin Sonata No. 3; The fourth part will be the study of performance interpretation, with the score and aforementioned grounds, aiming to conclude an interpretation more closely related to the composer’s original intention, and further provides the guidance for performance.

一、中文書籍

侯鴻勛。《康德》。香港:中華書局，2000。

傅佩榮。《一本就通:西方哲學史》。臺北:聯經，2011。

二、中譯書籍

Tarnas, Richard. 《西方思想史》(The Passion of the Western Mind: Understanding the Ideas That Have Shaped Our World View)。吳象嬰、晏可 佳、張廣勇 譯。 上海:上海社會科學院出版社，2011。

三、中文期刊

溫明麗。〈教育哲語愛默生的智慧〉。《教育資料與研究雙月刊》No. 97 (十二月號，2010)，131-134。

謝昀倫。〈音樂中的懷舊情感探討〉。《藝術評論》No. 28 (一月號，2015)， 101-145。

四、中文學位論文

曾子嘉。〈從《康科德奏鳴曲》探討艾伍士的音樂創作與思維〉。國立臺灣師範大學碩士論文，2006。

陳心怡。〈查爾斯‧艾伍士第二號小提琴奏鳴曲之創作手法與詮釋〉。國立臺南藝術大學碩士論文，2006。

游適伃。〈艾伍士《康科德奏鳴曲》中音樂借用之研究與詮釋探討〉。國立臺北藝術大學博士論文，2018。

五、外文書籍
Auner, Joseph. Music in the Twentieth and Twenty-First Centuries. New York: WW. Norton & Company, 2013.

Block, Geoffrey and J. Peter Burkholder, eds., Charles Ives and the Classical Tradition. New Haven: Yale University Press, 1996.

Budiansky, Stephen. Mad Music: Charles Ives, the Nostalgic Rebel. Lebanon: ForeEdge, 2014.

Burkholder, J. Peter. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale University Press, 1995.

———. Charles Ives and His World. Chichester: Princeton University Press, 1996.

———. Charles Ives, the Ideas Behind the Music. New Haven: Yale University,
1985.

Burkholder, J. Peter, Donald Jay Grout and Claude V. Palisca. A History of Western Music. New York: WW. Norton & Company, 2014.

Cooke, Antony. Charles Ives: The Making of the Composer. Philadelphia: Bookbaby, 2020.

Cowell. Henry and Sidney Cowell. Charles Ives and his Music. Oxford: Oxford University Press, 1955.

Crawford, Richard. An introduction to America’s Music. New York: W.W. Norton & Company, 2001.

Evrist, Mar and Kelly, Thomas Forrest, ed. The Cambridge History of Medieval Music, vol. 1. Cambridge: Cambridge University Press, 2018.

Emerosn, Ralph Waldo. The Complete Essays and other Writings of Ralph Waldo Emerson. New York: The Modern Library, 1950.

Feder, Stuart. The life of Charles Ives. Cambridge: Cambridge University Press, 1999.
Henderson, Clayton W. The Charles Ives Tunebook. Indianapolis: Indiana University Press, 2008.

Ives, Charles. Essays Before a Sonata. Fairfield: 1st World Library-Literary Society, 2004.

Kenny, Anthony. The Rise of Modern Philosophy, vol. 3 of A New History of Western History. Oxford: Oxford University Press, 2006.

Kingman, Daniel. American Music: A Panorama. New York: Schirmer Books, 2010.

Kirkpatrick, John, ed. Charles E. Ives: Memos. New York: W.W. Norton &
Company, 1991.

Lambert, Philip, ed. Ives studies. Cambridge: Cambridge University Press, 1997.

McDonald, Matthew. Breaking Time's Arrow: Experiment and Expression in the Music of Charles Ives. Bloomington: Indiana University Press, 2014.

Owens, Tom C., ed. Selected Correspondences of Charles Ives. Berkeley: University of California Press, 2007.

Paul, David C. Charles Ives in the Mirror: American Histories of an Iconic Composer. Chicago: University of Illinois Press, 2013.

Perlis, Vivian. Charles Ives Remembered: An Oral History. Champaign: University of Illinois Press, 2002.

Rossiter, Frank R. Charles Ives and his America. New York: Liveright, 1975.

Sablosky, Irving. American Music. Chicago: The University of Chicago Press, 1985.

Swafford, Jan. Charles Ives: A Life with Music. New York: W.W. Norton & Company, 1996.

六、外文期刊

Ballantine, Christopher. “Charles Ives and the Meaning of Quotation in Music.” The Musical Quarterly 65, no. 2 (April 1979): 167-184.

Balshaw, Paul A. “CHARLES IVES: The Man and His Music: THE CELESTIAL COUNTRY: AN INTRODUCTION. ” The Choral Journal 15, no. 7 (March 1975): 16-20.

Bellamann, Henry. “Charles Ives: The Man and His Music.” The Musical Quarterly 19, no. 1 (January 1933): 45-58.

Blum, Stephen. “Ives’s Position in Social and Musical History.” The Musical Quarterly 63, no. 4 (October 1977): 459-482.

Burkholder, J. Peter. “Ives and Yale: The Enduring Influence of a College Experience.” College Music Symposium 39 (1999): 27-42

———. “”Quotation” and Emulation: Charles Ives’s Uses of His Models.” The Musical Quarterly 71, no. 1 (1985): 1-26.

———. “The Critique of Tonality in the Early Experimental Music of Charles Ives.” Music Theory Spectrum 12, no. 2 (Autumn 1990): 203-223.

———. “The Uses of Existing Music: Musical Borrowing as a Field.” Note 50, no. 3 (March 1994): 851-870.

Chase, Gilbert. “Editor’s Outlook: Charles Ives Remembered.” Anuario Interamericano de Investigación Musical 10 (1974): 170-174.

Crunden, Robert M. “CHARLES IVES: The Man and His Music.” The Choral Journal 15, no. 4 (December 1974): 5-12.

Dickinson, Peter. “A New Perspective for Ives.” The Musical Times 115, no. 1580 (October 1974): 836-838.

———. “Charles Ives 1874-1954.” The Musical Times 105, no.1455 (May 1964): 347-349.

Dujmić, Dunja. “The Musical Transcendentalism of Charles Ives.” International Review of the Aesthetics and Sociology of Music 2, no. 1 (June 1971): 89-95.

Eiseman, David. “George Ives as Theorist - Some Unpublished Documents.” Perspective of New Music 14, no. 1 (Autumn - Winter 1975): 139-147.

Geselbracht, Raymond H. “Evolution and the New World Vision in the Music of Charles Ives. ” Journal of American Studies 8, no. 2 (1974): 211-27.

Gingerich, Lora L. “A Technique for Melodic Motivic Analysis in the Music of Charles Ives.” Music Theory Spectrum 8 (1986): 75-93.

Gratovich, Eugene. ”The Charles Ives Centennial.” Music Educator Journal 61, no. 2 (October 1974): 58-61.

Helm, Everett. “Charles Ives, American Composer. ” The Musical Times 95, no. 1337 (July 1954): 356-61.

Hitchcock, H. Wiley. ““A Grand and Glorious Noise! ”: Charles Ives as Lyricist.” American Music 15, no. 1 (1997): 26-44.

Lamb, Gordon H. “Charles Ives 1874-1954.” The Choral Journal 15, no. 2 (October 1974): 12-13.

Lambert, J. Philip. “Interval Cycles as Compositional Resources in the Music of Charles Ives. ” Music Theory Spectrum 12, no. 1 (Spring 1990): 43-82.

———. “Ives’s “Piano-Drum” Chords.” Intégral 3. (1989): 1-36.

———. “Ives and Counterpoint.” American Music 9, no. 2 (Summer 1991): 119-148.

Marshall, Dennis. “Charles Ives’s Quotations: Manner or Substance?” Perspectives of New Music 6, no. 2 (1968): 45-56.

Massey, Drew. “The Problem of Ives’s Revision, 1973-1987.“ Journal of the American Musicological Society 60, no. 3 (Fall 2007): 599-645.

McGinness, John. “Essay: Has Modernist Criticism Failed Charles Ives?” Music Theory Spectrum 28, no. 1 (Spring 2006): 99-109.

Riis, Thomas L. “Charles Ives, Violin Sonatas Nos. 1-4 by Curt Thompson and Rodney Waters.” American Music 24, no. 2 (Summer 2006): 249-251.

Schling, Dorothy T. and Dolan, Daniel D. “Ives.” MENC: The National Association for Music Education 61, no. 8 (April 1975): 8.

Schoffman, Nachum and Charles Ives. “Serialism in the Works of Charles Ives.” Tempo, no. 138 (September 1981): 21-32.

Scott, Ann Besser, and Charles Ives. “Medieval and Renaissance Techniques in the Music of Charles Ives: Horatio at the Bridge? ” The Musical Quarterly 78, no. 3 (Autumn 1994): 448-78.

Sherwood, Gayle. “Charles Ives and “Our National Malady”.” Journal of the American Musicological Society 54, no. 3 (Fall 2001): 555-584.

Starr, Lawrence. “The Early Styles of Charles Ives.” 19th-Century Music 7, no. 1 (Summer 1983): 71-80.

Suhor, Chares. “To Charles Ives.” The English Journal 65, no. 5 (May 1976): 45-46.

Tick, Judith. “Ragtime And the Music of Charles Ives”. Current Musicology, no. 18 (January 21, 2020): 105–113.

七、外文學位論文

Gabbi, Marianna Paone, “Charles Ives, the violin sonatas: a lecture recital, together with three recitals of selected works of L. v. Beethoven, J. Brahms, E. Chausson, C. Debussy, W. Latham, G. Tartini, and A. Vivaldi” DMA thesis, North Texas State Unviersity, 1978.

Smith, R.E. “Exploring the multi-generational influence of American ragtime music through the works of Charles Ives, William Walton and William Bolcom.” Bachelor’s thesis, Edith Cowan University, 2012.

Thompson, William Curt. “The Fourth Sonata for Violin and Piano, ‘Childern’s Day at the Camp Meeting’ By Charles Ives: Contextual, Structural, and Stylistic Considerations’”DMA thesis, Rice University, 2002.

八、樂譜

Ives, Charles. Sonata No. 3 for Violin and Piano, ed. by Sol Babitz and Ingolf Dahl.King of Prussia, PA: Theodore Presser Company, 1951.