以其主張，還原其道──由《中提琴與鋼琴奏鳴曲》編號十一之四第一樂章「幻想曲」探索亨德密特之音樂理論基礎

Spective, inspective, and retroactive: inspecting Hindemith's harmonic rhetorics seen in the First Movement of Fantasie for Viola and piano, op.11 no. 4

文中將以亨德密特之重要作品《中提琴與鋼琴奏鳴曲》編號十一之四的第一樂章為例，剖析其音樂結構，以理解亨德密特所主張之音樂理論基礎（包括「音序一」與「音序二」所衍生出的音程及和聲概念）如何實踐於其作品中。

This thesis is to inspect Hindemith's harmonic rhetorics, which is all too often analyzedagainst the original perspectives. The famous Sonata for viola and piano, op. 11 no. 4, is here takenas an example as I tried to clarify the music structure by applying Hindemith's own music theory.