勾坦諾・董尼才第 (Gaetano Donizetti, 1797-1848) 出生於義大利北部小鎮，雖然家中並相關音樂資源能讓他學習，幸運的是他遇見了恩師西蒙・邁爾 (Simone Mayr, 1763-1845)，在歌劇的學習上甚至到往後的人生都與邁爾互動密切。董尼才第眾多形式的歌劇創作中屬於浪漫悲劇的《拉梅默的露琪亞》奠定了他在十九世紀初歌劇舞台的獨特地位。充滿情節不流俗的劇本、在半音和聲與旋律動機的引導下相互融合交雜出強大的戲劇張力，更以露琪亞這位女性人物為主角，飽受痛苦折磨後奔向死亡的場景開啟新的歌劇篇章。
本論文的寫作目的在於以董尼才第所創作之《拉梅默的露琪亞》為主體，來了解從社會環境到作曲家及其作品的特殊定位。筆者將分為六個章節來闡述：第一章為緒論；第二章旨在探究十九世紀義大利美聲法之歷史背景與轉變；第三章則聚焦於恩師邁爾與董尼才第之生平與風格；第四章則對歌劇《拉梅默的露琪亞》的創作背景、劇情及劇作家做一些敘述；第五章則藉由女主角兩首詠唱調之分析與詮釋，來連結演唱時所需求時之美聲技術需求；第六章為結論，綜合前面章節所述並提出可能之未來展望。筆者期許能藉由此論文的探索，而對於董尼才第之作品能有更深入的了解。

Gaetano Donizetti (1797-1848) was born in a small town in northern Italy. Although his family had no resources to let him study in music. Fortunately, Donizetti met his mentor Simone Mayr (1763-1845), who he had acquire abundant knowledge of opera and he had an interaction with in the early days of his studylife and throughout the rest of his life. Among his many forms of opera creation, the romantic tragedy of Lucia di Lammermoor established his unique position on the opera stage in the early 19th century. The unusual plots of the story, the arrangement of chromatic harmonies and melodic motives successfully integrate with each other in order to create strong dramatic tension. Moreover, the scene of Lucia, a female protagonist, who runs towards death after suffering from pain, opens a new chapter of the opera.
The purpose of this thesis is to figure out under the social environment and the significance of the composer's works by Donizetti’s Lucia di Lammermoor. The thesis is divided into six chapters: The first chapter is introduction; the second chapter explores the historical background and transformation of the 19th century Italian Bel Canto method. The third chapter focuses on the life and style of teacher Mayr and the composer. The fourth chapter briefly describes the background, plots and playwright of the opera Lucia di Lammermoor. The fifth chapter analyzes and interprets the two arias of the heroine to make connection with the requirements of bel canto technology. The sixth chapter is the conclusion, which synthesizes the previous chapters and puts forward the possible future outlook. This thesis aims to have a deeper understanding of Donizetti's works by the analysis in the chapters.

中文書目
任蓉。《美聲法與藝術的歌唱》。台北：中國音樂書坊，1995。
吳祖強主編。《歌劇經典 9 拉美莫爾的露琪亞》。台北：世界文物，1999。
師維譯。《歌劇大麥克 2 多尼采蒂 Donizetti》台北：世界文物出版社，1998。
劉志明。《西方歌劇史》。台北：大陸書店，2000。
林蔭清漢翻。《義大利文藝術歌曲及歌劇選曲 II》。台北：全音樂譜出版社，2001。
劉岠渭主編。《義大利著名詠嘆調逐字對譯》。台北：世界文物出版社，2014。
中文學位論文
何欣蘋。 〈董尼才第歌劇「拉美莫爾的露琪亞」女主角露琪亞之音樂分析及詮釋〉。國立台北藝術大學音樂學系碩士論文，中華民國 93 年。
李郁茹。 〈從董尼采第《安娜・波蕾娜》、《拉美默的露琪亞》之「瘋狂場景」探究美聲唱法技巧運用及演唱詮釋之藝術〉。國立台灣師範大學音樂學系碩士論文，中華民國 98 年。
徐慧芬。 〈董尼才悌《拉美莫爾的露琪亞》 「瘋狂場景」之樂曲分析與演唱詮釋〉。東海大學音樂系碩士班畢業製作，中國民國 107 年。
徐宜均。 〈董尼采第歌劇《拉梅默的露琪亞》與貝利尼歌劇《清教徒》瘋狂場景中詠歎調之分析與演唱詮釋〉。國立臺北藝術大學音樂學院音樂學系碩士班「畢業音音樂會」及「詮釋報告」 ，中華民國 110 年。
西文書目
Abbate, Carolyn and Roger Parker. A History of Opera. New York: W. W. Norton &Company, 2015.
Ashbrook, William. Donizetti and His Operas. New York: Cambridge University Press,1982.
Fisher, Burton D. Opera Classics Library:Donizetti’s Lucia di Lammermoors. Coral Gables, Florida: Opera Journeys Publishing, 2003.
Langford, Jeffrey A. Evenings at the Opera: An Exploration of the Basic Repertoire. Milwaulee, WI: Amadeus Press, 2011.
Scott, Sir Walter. The Bridge of Lammermoor. N.p.: Adam & Charles Black, 1886.
樂譜
Donizetti, Gaetano. Lucia di Lammermoor. (Piano Accompaniment arr.) Milan: Ricordi. 1890.
Donizetti, Gaetano. Lucia di Lammermoor. (Full score) Milan: Ricordi. 1992.
Liebling, Estelle. The Estelle Liebling Book of Coloratura Cadenzas containing Tradional and New Cadenzas, Cuts, Technical Exercises, and Suggested Concert Programs. New York: G.Schirmer, Inc., 1943.
Ricci, Luigi. Variazioni-Cadenze Tradizioni Per canto: Vol, 1(Voci femminili) E. R. 1903. Milan: Ricordi. 1986.
網路資料
https://www.oxfordmusiconline.com/grovemusic
https://terms.naer.edu.tw