尤金．伊撒意（Eugène Ysaÿe, 1858-1931）於1924年創作《大提琴無伴奏奏鳴曲》作品28（Sonata for Solo Cello, Op.28），是其唯一為大提琴所寫的無伴奏作品。回顧歷史，1717至1723年間，約翰．賽巴斯蒂安．巴赫（Johann Sebastian Bach, 1685-1750）創作《六首無伴奏大提琴組曲》作品1007-1012 （6 Suites for Solo Cello, BWV 1007-1012），突破以往大提琴僅限於鞏固和聲進行的功能，巴赫透過複音音樂的對位手法，發掘大提琴的獨立性與豐富的表現力；歷經兩世紀的變革與傳承，伊撒意的大提琴奏鳴曲展現熟稔的技巧與深邃的情感表達，促使無伴奏大提琴作品的發展往前推進一步。
本報告分作五個章節。第一章緒論，闡述研究動機與目的、研究範圍與方法；第二章為伊撒意之生平與創作，概述作曲家的一生與代表性的創作特色，並進一步討論法比樂派對伊撒意之影響；第三章為作品之創作背景，先探討無伴奏大提琴作品的歷史演變，再聚焦於伊撒意大提琴無伴奏奏鳴曲之創作背景；第四章將提出個人觀點，進行作品分析與詮釋的分享；最後在第六章總結論述。

Eugène Ysaÿe (1858-1931) created the“Sonata for Solo Cello, Op. 28”in 1924, marking his sole composition dedicated to the cello without accompaniment. Looking back in history, between 1717 and 1723, Johann Sebastian Bach (1685-1750) composed the“Six Suites for Solo Cello, BWV 1007-1012,”breaking away from the conventional role of the cello confined to supporting harmonic progressions. Through polyphonic counterpoint, Bach explored the independence and expressive richness of the cello. After two centuries of transformation, Ysaÿe' s Cello Sonata exhibits accomplished technique and profound emotional expression, advancing the development of solo cello compositions.
This report is divided into five chapters. Chapter one, the introduction, elucidates the research motivation and objectives, research scope, and methods. Chapter two delves into Ysaÿe' s life and compositions, providing an overview of the composer's life, distinctive creative features, and further discussing the influence of the Franco-Belgian school on Ysaÿe. Chapter three explores the background of the composition, examining the historical evolution of solo cello works and then focusing on the context of Ysaÿe' s Sonata for Solo Cello. Chapter four presents a personal perspective, offering analysis and interpretation of the work. The final chapter, chapter five, serves as the conclusion, summarizing the findings and discussions presented in the report.

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王建堂。〈伊撒意第三號、第六號無伴奏小提琴奏鳴曲之分析與詮釋〉，國立臺灣師範大學碩士論文，2010。
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