在十九世紀末期，由聖賞斯、法朗克、及佛瑞等法國作曲家成立「國家音樂協會」(Société Nationale de Musique)，打著「振興法國音樂」的口號，走向與德奧音樂不同發展的路途，也使法國音樂發展更為蓬勃。而身處於兩世紀之交的拉威爾，既承襲了優雅、細緻的法國音樂傳統，源自母系血統的西班牙文化元素，同時也兼具時代性的潮流如爵士素材的運用、新古典主義(Neo-classicism)傾向等於作品之中，造就他獨特的風格。拉威爾與德布西同屬於「印象樂派」(Impressionism)，兩人和聲語法相近，但在處理手法上會稍有不同；此外，與德布西相較之下，拉威爾更多地使用古典曲式來創作，且鋼琴作品更具炫技性。
以「墓」作為標題具有「以詩或音樂對某人致意」的含義。在此，拉威爾以《庫普蘭之墓》向巴洛克時期、光輝的法國音樂致意，也對在第一次世界大戰中逝去的朋友們表達悼念之意。《庫普蘭之墓》以巴洛克組曲為原型，包含〈前奏曲〉、〈賦格〉、〈佛拉納舞曲〉、〈黎高冬舞曲〉、〈梅呂哀舞曲〉、〈觸技曲〉等六首流行於十七、十八世紀的曲種，在仿古的曲式上，拉威爾加以現代感的和聲來闡述這首作品，帶出新的風貌。
為更深入了解作品，本文也就樂曲分析及詮釋法來作討論。曲析方面將以每首樂曲的組織架構、主題及素材的使用、和聲進行、寫作手法等作觀察與分析，並歸納出拉威爾在此作品中所慣用的特點。在詮釋法部分，筆者以自身練習經驗與上課心得，輔以書籍與錄音資料作為參考，以期表達出筆者對樂曲的理解與詮釋。最後也結論出《庫普蘭之墓》的歷史意義及代表音樂風格。

In the late 19th century, a group of French composers including Camille Saint-Saëns , César Frank , and Gabriel Fauré gathered to establish a music organization called “Société Nationale de Musique ”, which intented to make differance from the developing of Germany music and to revive French music even more. Maurice Ravel, who lived between 19th and 20th centuries, his distinguishing feature was formed by reciving the elegant French traditional music, the spainish culture from maternal origin, also both the contemporary trend like Jazz element and Neo-classionism music. Claude Debussy and Ravel, the two composers are classified to “Impressionism”, although their harmony language are similar, but still not the same. Furthermore, Ravel applied classic form in his composition more than what Debussy did, and also his piano pieces are more skillful.
The work which is titled “tombeau” means to pay tribute to someone by poem or music. Ravel composed the piece Le tombeau de Couperin (1914-1917) to regard the brilliant French music of Baroque period, and also to memorize his friends who died during World War I. Ravel arranged the composition of Le tombeau de Couperin as a Baroque suite, used those genres populated in 17th and 18th centuries: “Prelude”, “Fugue”, “Forlane”, “Rigaudon”, “Menuet”, and “Toccata”, tried to interpret these antique pieces to a new style with modern harmony.
In order to study more, the analysis and interpretation of Le tombeau de Couperin will be discussed in this article later. In the analysis, I will observe the structure, application of theme and material, harmony progress, and writing techniques, then will generalize those usual feature that Ravel did in his writings. Next part, I will convey my comprehension and interpretation of this music by referring to written information, recording and my personal learning experience. Finally, the historical meaning and the representative of music style of Le tombeau de Couperin will be concluded in last chapter.

一、中文書籍

大衛‧伯內特‧詹姆斯。楊敦惠譯。《偉大作曲家群像：拉威爾》。台北：智庫
出版，1995。

林淑真。《德布西二十四首鋼琴前奏曲研究》。高雄：頌音出版社，1996。

陳郁秀。《拉威爾鋼琴作品之研究》。台北：全音出版社，1982。

蕭慶瑜。《法國近代鋼琴音樂─從德步西到杜悌尤》。台北：國立編譯館，2009。

二、論文

李冠瑩。《拉威爾鋼琴作品〈庫普蘭之墓〉的寫作探討與演奏詮釋》。東吳大學音樂研究
所碩士論文，2005。

李依穎。《拉威爾鋼琴作品庫普蘭之墓之探討與演奏詮釋》。國立嘉義大學音樂與表演藝
術所碩士論文，2009。

三、 雜誌

陳漢金。〈巴黎的美麗與維也納的哀愁─德布西、馬勒、荀貝格的崛起〉。《表演藝術》
215期。台北：中正文化中心，2010十一月。

四、西文書籍：

Burkholder, J. Peter, Donald J. Grout, Claude V. Palisca. A History of Western Music.
New York: Norton & Co. 2006.

Cooper, Martin. Edi. The New Oxford History of Music: The modern age 1890-1960.
London: Oxford University, 1974.

Demuth, Norman. Ravel. London: J. M. Dent & sons Ltd. 1947.

Gordon, Stewart. A History of Keyboard Literature: Music for the Piano and Its 　　　　　
Forerunners. New York: Schirmer Books, 1996.

Myers, Rollo H., Ravel: Life & Works. New York: Greenwood Press. 1976.

Nectoux, Jean- Michel, Roger Nichols, Patrick Gowers, G. W. Hopkins, Paul
Griffiths. The New Grove Twentieth-century French Masters. New York: W. W. Norton & Co., 1986.

Orenstein, Arbie. Ravel: Man and Musician. New York: Dover Publications, Inc.,
1991.

Perlemuter, Vlado. Hélène Jourdan-Morhange. Ravel accoring to Ravel. London:
Kahh & Averill, 2005

Roland- Manuel, Maurice Ravel. London: Dennis Dobson Limited. 1947.

Shera, F. E. Debussy and Ravel. London: Oxford University Press, 1951.

Taruskin, Richard. The Oxford History of Western Music, Vol. 4, The Early
TwentiethCentry. New York: Oxford University Press, 2005.

五、錄音資料：

Février, Jacques. Piano. Intégrale de l’œuvre pour piano, Disques Adés 141062 Disques Adés.
1971. CD.

Haas, Monique. Piano. Musique pour piano, Erato ECD 71570. 1968. CD.

Perlemuter, Valdo. Piano. Piano works. Nimbus NIM 5011. 1984. CD.

Tharaud, Allexandre. Piano. L’ Œuvre pour piano, Harmonia Mundi HMC 901811. 2005.CD.

Orchestre Symphonique de Montréal. Orchestra. Decca 4102542 Decca. 1984. CD.

六、樂譜：

Ravel, Maurice. Le tombeau de Couperin Suite pour piano. Paris: Durand. 1918.