受奧國新維也納樂派十二音列的影響，梅湘於1949-1950年創作的鋼琴作品《四首節奏練習曲》中的第二首〈時值與力度的模式〉，開啟了系列音樂之先河。而布雷茲為當今仍活躍於法國的作曲家、指揮家，作曲師承梅湘。布雷茲《結構》〈一〉受到該曲的影響，以全系列主義手法寫成──不僅音高，就連節奏、力度、運音法都有其一定的配對。
本論文主要透過研究布雷茲《結構》〈一〉，探討系列音樂的多元面貌，並將系列音樂創作語法運用於自身創作之中，期能為系列音樂創作注入新的養分。論文共分為六章：第一章「緒論」，說明研究動機與目的，以及研究方法與論文架構；第二章「布雷茲生平與代表作品概述」，生平敘述其指揮與創作背景，代表作品則以創作手法類型為切入角度進行概述；第三章「系列音樂概述」，分為系列音樂源起與發展、及系列音樂語法與標示類別；第四章「《結構》〈一〉樂曲分析」，包含〈1a〉、〈1b〉、〈1c〉分述以及《結構》〈一〉之綜合分析；第五章「自我音樂創作理念之實踐」，為筆者在研究《結構》〈一〉後所進行的運用；第六章「結論」，總結全文，並提出筆者之研究心得。

After influenced by the twelve-tone series of the Second Viennese School in Austria, in 1949-1950, Olivier Messiaen composed a piano piece Quartre études de rythme. Its second piece is “Mode de valeurs et d’intensités,” which gave the first example of serial music. Pierre Boulez, a student of Messiaen, is still an active French composer and a conductor presently. Affected by the piece, Boulez composed structures “I” for two pianos based on total serialism, in which pitches, values, dynamics, and articulations are in certain matches.
The essay mainly discusses the diverse facets of serial music through researching on Boulez’s Structures “I.” The writer puts the serial compositional idioms into practice in his own composition, in the hope of giving new nutrients to the serial music composition. The essay is divided into 6 chapters: chapter 1 “research motivation” explains the motivation, purpose, and the methods as well as the structure of the research; chapter 2 “the overview of Boulez’s life and works” simply tells his living, compositional, and conducting background, while his important works are briefly told according to his compositional techniques; chapter 3 “the introduction of serial music” are divided into its origin and development, as well as its idioms and the kinds of marking it; chapter 4 “an analysis of Structures ‘I’ ” includes the respective analysis of “1a,” “1b,” and “1c” as well as the analysis of the entire work; chapter 5 “the fulfillment in my own music compositional ideas” is the application after the writer finishes the research of Structures “I;” chapter 6 “conclusion” summarizes the whole text, and the writer proposes his thought after the research.

一、中文書籍

馬清。《二十世紀音樂歐美音樂風格》。台北：揚智文化，2000。

楊沛仁。《音樂史與欣賞》。台北：美樂出版社，2009。

鄭英烈。《序列音樂寫作基礎》。第三版。上海：上海音樂出版社，1999。

潘皇龍。《讓我們來欣賞現代音樂》。台北：全音出版社，1999。

鍾子林。《20世紀西方音樂》。北京：中央民族大學，2006。

二、中文論文

林思貝。〈布雷茲《無主之槌》及自我創作的分析與研究〉。國立臺灣師範大學碩士論文，2008。

三、西文書籍

Adler, Samuel. The Study of Orchestration. 3rd ed. New York: W. W. Norton & Company, 2002.

Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 7th ed. New York: W. W. Norton & Company, 2006.

Cooper, Martin., ed. The Modern Age (1890-1960). Vol. 10 of The New Oxford History of Music. London: Oxford University Press, 1998.

Griffiths, Paul. Modern Music: A Concise History from Debussy to Boulez. Rev. ed. New York: Thames and Hudson, 1994.

───. Modern Music and After: Directions since 1945. New York: Oxford University Press, 1995.

Hopkins, G. W. “Pierre Boulez.” In Twentieth-century French Masters: Fauré, Debussy, Satie, Ravel, Poulenc, Messiaen, Boulez, The New Grove, edited by Jean-Michel Nectoux et al., 251-282. New York: W. W. Norton & Company, 1986.

Jameux, Dominique. Pierre Boulez. Translated by Susan Bradshaw. Cambridge: Harvard University Press, 1991.

Joseph, Machlis. Introduction to Contemporary Music. 2nd ed. New York: W. W. Norton & Company, 1979.

Károlyi, Ottó. Intruoducing Modern Music. New York: Penguin Books, 1995.

Kostka, Stefan. Materials and Techniques of Twentieth-century Music. 3rd ed. New Jersey: Prentice Hall, 2006.

Morgan, Robert P. Twentieth-century Music: A History of Musical Style in Modern Europe and America. New York: W. W. Norton & Company, 1991.

四、電子期刊

嚴福榮。〈從尹伊桑《五首鋼琴小品》之探究來看亞洲作曲家在西方文化下的創作出路〉。《關渡音樂學刊》，第十五期（2011年12月）：71-100。

Deyoung, Lynden. “Pitch Order and Duration Order in Boulez’ Structure Ia.” Perspectives of New Music, no. 16 (Spring – Summer, 1978): 27-34.

五、作品樂譜

Boulez, Pierre. Structures: premier livre 2 pianos à 4 mains. London: Universal Edition, 1955.

Messiaen, Olivier. Mode de valeurs et d’intensités. Paris: Durand, 1950.

六、有聲資料

Boulez, Pierre. Structures pour deux pianos. Alfons Kontarsky and Aloys Kontarsky. WER 6011-2. CD. 1992.

Webern, Anton. Anton Webern’s Complete Works. Sony NM3K 45 845. CD. 1991.

七、網路資源

G. W. Hopkins and Paul Griffiths. “Boulez, Pierre.” In Grove Music Online. Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/03708 (accessed November 1, 2011).

John Roeder. “Set (ii).” In Grove Music Online, Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/25512 (accessed April 29, 2012).

Monika Lichtenfeld. “Hauer, Josef Matthias.” In Grove Music Online. Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/12544 (accessed April 8, 2012).

Paul Griffiths. “Serialism.” In Grove Music Online. Oxford Music Online. http://www.
oxfordmusiconline.com/subscriber/article/grove/music/25459 (accessed March 12, 2012).

“Pierre Boulez’s Work by Date.” In IRCAM. http://brahms.ircam.fr/pierre-boulez#work_
by_date (accessed April 29, 2012).

WorldCat. http://www.worldcat.org (accessed April 30, 2012).