改編曲為十九世紀重要的樂種之一。大量的作曲家投入改編不同類型作品的工作，而李斯特被認為是此時期改編作曲家中的佼佼者。李斯特的鋼琴改編曲有三個目的，其一是為推廣部份他所欣賞及尊敬的作曲家的作品，如：巴赫的管風琴作品、貝多芬的交響曲…等。其二是為了音樂會所寫的表演曲目。李斯特使用一些有名或流行作品中的主題或片段，作為自已創作的素材，這類型的改編曲廣泛的在李斯特個人的鋼琴音樂會中演奏。其三則是為了展現並改進時下的鋼琴技巧。李斯特在改編作品中使用大量的困難技巧，包含：八度、音階、琶音、雙手交叉…等。
本論文將探討四種題材之李斯特鋼琴改編曲。首先，筆者將研究他的成長背景及他鋼琴音樂風格的養成。接著，筆者將介紹改編曲的發展並將其分門別類。最後筆者將以《帕格尼尼練習曲》、《聖母頌》、《獻詞》、《弄臣模擬曲》、《骷髏之舞》為例，分析藝術歌曲、歌劇、器樂及管弦樂改編曲，並深入探討樂曲的改編曲式、架構、和聲、織度、旋律、節奏、速度…等，並說明各曲的演奏方式。
李斯特擅於改編不同類型的作品，他的改編曲給予原曲全新的生命力。在他的多數作品中，展現在了高度的創造力及個人風格。

Transcription in nineteenth-century is considered an important genre. Numerous musicians had participated in transcribing different types of works. Franz Liszt is considered the most well-known and representative arranger in this time. His Piano transcriptions have three purposes. First of all, to promote a particular composers, who he respected and appreciated their works. Such as Bach’s organ pieces, Beethoven’s Symphonies. Second, to provide an attractive concert repertoire. Liszt took themes from famous and popular pieces, or used elegant melodies to be his composed materials, and then these works would played in his piano recitals. Finally, to show and advance piano techniques. Liszt used lots of difficult techniques in his transcriptions, including octave, sixth, scale, arpeggio, across hand… etc.
This thesis will discuss 4 types of Liszt piano transcriptions. To start with, the author will investigate his life experiences and the formation of his piano musical style. Secondly, to introduce the development and classification of piano transcriptions. Thirdly, the author will analyzed 4 different types of transcriptions, such as lieder, opera, instrument and orchestra works, including Grandes études de Paganini, Ave Maria, Widmung, Paraphrase of Rigoletto, and Dance Macabre. To explain how he transcribe these works, the author will analyzed in terms of form, structure, harmony, texture, melody, rhythm, tempo… etc. Finally, the author will discuss interpretations in these works, such as piano technique, pedal, touch method, tempo, imitate the orchestra timbre… etc.
Liszt was skilled in transcribing various types of music. He respected the original pieces, transcribing these pieces from original one, and gave different interpretations of original source material. In most works, he showed great creative and personal style.

樂譜：
Liszt, Franz. Piano Transcriptions from French and Italian Operas. New York: Edition Dover, 1982.

Liszt, Franz. Liszt Klavierwerke: Freie Bearbeitungen XIV . Hungary: Edition Budapest, 1990.

Liszt, Franz. La Danza and Other Great Piano Transcriptions. New York: Edition Dover, 2001.

Liszt, Franz.《李斯特練習曲》(Franz Liszt Etüden Vol. II)。台北：全音樂譜出版社。

中文書目：
Kirby, F. E. 《鋼琴音樂簡史》(Music for Piano A Short History)。劉小龍、孫靜、李霏霏 譯。北京：人民音樂出版社，2010。

張欽全。《天使．魔鬼．李斯特-數首鋼琴作品研究》。台北：原笙出版，2008。

英文書目：
Banowetz, Joseph. The Pianist's Guide to Pedaling. Indiana: Indiana University Press, 1985.

Friedheim, Arthur and Siloti, Alexander. Remembering Franz Liszt. New York: Limelight, 1986.

Searle, Humphrey. The Music of Liszt. New York: dover Publications, Inc., 1966.

Sachs, Harvey. Virtuoso: The Life and Art of Niccolo Paganini, Franz Liszt, Anton Rubinstein Ignace Jan Paderewski, Fritz Kreisler, Pablo Casals Wanda Landowska, Vladimir Horowitz, Glenn Gould . New York: Thames and Hudson Inc., 1982.

Schonberg, Harold C. The Great Pianists: From Mozart to the Present. New York: Simon and Schuster, 1987.

Saffle, Michael. Liszt in Germany 1840-1845. Franz Liszt Studies Series No.2. Stuyvesant and New York: Pendragon Press, 1994.

Saffle, Michael and James Deaville, eds. New Light on Liszt and His Music: Essays in Honor of Alan Walker's 65th Birthday. Franz Liszt Studies Series No.6. Stuyvesant and New York: Pendragon Press, 1997.

Walker, Alan. Franz Liszt: The Virtuoso Years, 1811-1847. Revised edition. Ithaca and New York: Cornell University Press, 1987.

Walker, Alan. Franz Liszt: The Weimar Years, 1848-1861. Ithaca and New York: Cornell University Press, 1989.

Walker, Alan. Franz Liszt: The Final Years, 1861-1886. Ithaca and New York: Cornell University Press, 1997.

Walker, Alan. Reflections on Liszt. Ithaca and London: Cornell University Press, 2005.

Waston, Derek. Liszt. New York: Schirmer Books, 1989.

中文期刊：
楊青琳。〈李斯特鋼琴改編曲「冬之旅」-創作背景與技法之探討〉。《藝術學報》No.85(十月號，2009)：263-297。

楊青琳。〈李斯特鋼琴改編曲中創作特色與技巧之探討-以舒伯特代表性藝術歌曲為例〉《藝術學報》No.80(四月號，2007)：61-83。

英文期刊：
Bernstein, Susan Zeldes. “Virtuosity of the Nineteenth Century: Music and Language in Heine, Liszt, and Baudelaire.” Notes: Quarterly Journal of the Music Library Association 57-3 (Mar 2001): 650-653.

Davison, Alan. “Franz Liszt and the Development of 19th-Century Pianism: A Re-reading of the Evidence.” The Musical Times 147 (Fall 2006): 33-43.

Gut, Serge. “Franz Liszt.” Journal of Musicological Research 30-1 (Jan-Mar 2011): 66-71.

Green, Emily H. “Between Text and Context: Schumann, Liszt, and the Reception of Dedications.” Journal of Musicological Research 28-4 (Oct-Dec 2009): 312-339.

Gooley, Dana. “The Virtuoso Liszt.” Notes: Quarterly Journal of the Music Library Association 62-3 (Mar 2006): 713-715.

Kregor, Jonathan. “Liszt as Transcriber.” Notes: Quarterly Journal of the Music Library Association 68-2 (Dec 2011): 357-359.

中文論文：
王又力。〈《末日經》(Dies Irae)在浪漫時期管弦樂創作中的應用-以白遼士、李斯特、聖賞斯、馬勒、拉赫瑪尼諾夫的作品為例〉。東吳大學碩士論文，2008。

林采縈。〈唐懷瑟序曲探究〉。國立台南藝術大學碩士論文，2007。

陳宥諺。〈Müller-Lieder von Franz Schubert-以Das Wandern與Wohins?為例〉東吳大學碩士論文，2008

英文論文：
Winninger, F. Dies Irae: Its Use in Non-Liturgical Music From The Beginning of The Nineteenth Century. Northwestern University, Ph. D., 1962.