安東寧．德沃札克（Antonín Dvořák, 1841-1904）為捷克最重要的作曲家，其不僅在學習歷程中接受正規的作曲訓練，亦將屬於在地的民族風格音樂發展至淋漓盡致，並擅長在其作品中融入新的素材與靈感，而其於宗教音樂、室內樂、管弦樂曲、交響曲、協奏曲、交響詩、神劇、歌劇等等，皆有相當可觀的創作，為一位全方位的音樂創作者。
《B小調大提琴協奏曲》不僅為大提琴界最著名的協奏曲，亦為德沃札克的經典代表作品之一，它無論是在絕對音樂、民族音樂、協奏曲型態上，都有極高的造詣，除了憑藉作曲家自身的才華，其特殊的時代背景與民族文化上的認同矛盾亦為提升樂曲高度的推手。
本論著將釐清創作《B小調大提琴協奏曲》之時空背景，以動機與素材之使用、張力之鬆緊以及較為重要的功能性和聲等面向來解析如此具有民族風格的樂曲，以作出合理之解讀，並帶入音樂氛圍之想像使樂曲的聲響得以以較為形象化的方式描述，此外也將分享研究者在排練上的經驗，包含音色與平衡的拿捏，以及指揮動作上之運用和與獨奏者搭配的方式等。

Antonín Dvořák (1841-1904) has been the most important composer in the Czech Republic. Not only did he received formal composition training in the course of his studies, but also developed his native local folk music to the extreme. He adapted new materials and inspirations into his work, such as the inspiration of African American Spiritual Music and Native American Music. The scope of his creation, including sacred music, chamber music, orchestral music, symphony, concerto, symphonic poem, oratorio, opera, etc., he had considerable creativity and was an all-arounded composer.
The Cello Concerto in B minor was not only the most famous concerto in the cello repertoire, but also one of Dvořák's representative work. It was highly accomplished in the genre of absolute music, national music and concerto form. In addition to the talent of the composer, the contradiction between his distinct background and nationalism culturally, these elements were also the driving force in achieving the greatness of his music.
This thesis will look into the composing background of Cello Concerto in B minor, analyzing the piece with its motive, material, tension, and important functional harmony, in order to give a reasonable interpretation, bringing out the creative imagination and visualization of sound image from music. In addition, in sharing the experience in rehearsing, and performing the work, including the balance of the voice, and the process collaborating with the soloists, in hopes to bring together a performance closer to the ideal presentation.

一、中文部份

（一）學術論文

邱應欽。〈德弗札克－《B小調大提琴協奏曲作品104》之詮釋與分析〉。國立臺北藝術大學碩士論文，2008。

林子惠。〈大提琴用於國樂合奏之研究──聚焦於全國中小學合奏音樂比賽之探討〉，2012。

孫沛元。〈傳統與現代之間：現代國樂發展過程中的觀察及反思〉，2008。

陳玥樺。〈探討德弗札克b小調大提琴協奏曲第三樂章黑人靈歌旋律與捷克民族音樂節奏的使用〉。國立臺南藝術大學碩士論文，2008。

黃勁恆。〈德弗札克《B小調大提琴協奏曲，作品104》演奏詮釋與探討〉。國立臺中教育大學碩士論文，2010。

（二）中文專書

于潤洋。《中國藝術教育大系──西方音樂通史》上海市：上海音樂出版社，2013。

邵義強。《國民樂派的舵手》臺北縣：錦繡出版社，2000。

邵義強。《國民樂派樂曲賞析》臺北縣：錦繡出版社，2000。

周力行。《捷克史：波希米亞的傳奇》臺北市：三民，2008。

徐頌仁。《歐洲樂團之形成與配器之發展》臺北市：全音樂譜出版社，1983。

廖年賦。《德佛札克「新世界」交響曲之研究》臺北市：全音樂譜出版社，1986。

廖年賦。《管絃樂指揮研究》。臺北市：全音樂譜出版社，1986。
 
（三）翻譯專書

Butterworth, Nest. 《偉大作曲家羣像──德弗札克》(The illustrated lives of the great composers: Dvořák)，郭思蔚 譯。臺北市：智庫文化，1995。

Layton, Robert. 《德弗札克：交響曲與協奏曲》(Dvořák Symphonies & Concertos)，孟庚 譯。臺北市：世界文物，1997。

Schonberg, Harold. 《國民樂派》（The lives of the great composers），陳琳琳 譯。臺北市：萬象圖書，1992。

音樂之友社 編。《德佛亞克》。林勝儀 譯。臺北市：美樂出版社，1999。

二、西文部份

Fischl, Viktor. Antonin Dvořák His Achievement. West port, Connecticut: Greenwood Press, 1970.

Green, Elizabeth A. H. and Mark Gibson. The Modern Conductor, 7th ed. NJ: Prentice Hall Inc., 2004.

Samson, Jim, ed. The Late Romantic Era: From the Mid-19th Century to World War I. Englewood Cliffs, New Jersey: Prentice Hall, 1991.

三、樂譜資料

Dvořák, Antonín. Symphony No. 8 in G Major, Op. 88. Edited by František Bartoš. Souborné vydání díla, Series III, Vol. 8. Prague: SNKLHU, 1956.

_____________. Symphony No. 9 in B Minor, Op. 95. Edited by Otakar Šourek. Souborné vydání díla, Series 3, Vol.9. Prague: SNKLHU, 1955.

_____________. Concerto in B minor for Violoncello and Ochestra, Op. 104. Edited by František Bartoš. Souborné vydání díla, Series III, Vol. 12. Prague: SNKLHU, 1955.

_____________. Concerto in B minor for Violoncello and Ochestra, Op. 104. Edited by Jonathan Del Mar. Kassel: Bärenreiter-Verlag, 2016.

_____________. Concerto in B minor for Violoncello and Ochestra, Op. 104. Edited by Enrico Mainardi and Helmut Degen. London: Schott & Co. Ltd., 1968.

_____________. Concerto in B minor for Cello and Piano, Op. 104. Edited by Ewel Stegmann, Paul Kletzki. Berlin: N. Simrock, 1925.