中文書目
林慧珍 著，《幻想曲風－貝多芬、舒伯特、蕭邦及法雅的鋼琴幻想曲演奏詮釋與探究》，台北：國立台灣藝術教育館，2007。
Maurice Hinson 著，賴麗君 譯，《鋼琴家的辭典》，桃園：原笙國際有限公司，2007。
Muzio Clementi 著，劉瓊淑、鹿蘋 編譯，《鋼琴演奏藝術入門及導讀》，桃園：原笙國際有限公司，2009。

外文書目
Anderson, Emily, ed. The Letters of Beethoven. London: Macmillan & Co., 1961.
Apel, Willi. The History of Keyboard Music to 1700. Trans. Hans Tischler, Bloomington: Indiana University Press, 1972.
Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. Trans. and Ed. William J. Mitchell, New York: W. W. Norton & Company, 1949.
Badura-Skoda, Eva and Paul. Interpreting Mozart on the Keyboard. Trans. Leo Black. London: Barrie and Rockliff, 1962.
Barth, George. The Pianist as Orator: Beethoven and the Transformation of Keyboard Style. New York: Cornell University Press, 1992.
Bekker, Paul. Beethoven. London: J. M. Dent & Sons, 1925.

Brendel, Alfred. Music Sounded Out. New York: Farrar Straus Giroux, 1990.
Buelow, George J. “Johann Mattheson.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 16. 2001, pp. 139-144.
Caldwell, John. “Canzona.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 5. 2001, pp. 75-78.
---. “Ricercar.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 21. 2001, pp. 325-328.
---. “Toccata.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 25. 2001, pp. 534-537.
---. “Voluntary.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 26. 2001, pp. 891-892.
Collins, Paul. The Stylus Phantasticus and Free Keyboard Music of the North German Baroque. England: Ashgate Publishing Limited, 2005.
Czerny, Carl. A Systematic Introduction to Improvisation on the Pianoforte. Trans. Alice Levine Mitchell. New York: Longman Inc., 1983.
---. On the Proper Performance of All Beethoven’s Works for the Piano. Ed. Paul Badura-Skoda, Vienna: Publisher, 1970.
Drabkin, William, Christopher D. S. Field, and E. Eugene Helm. “Fantasia.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 8. 2001, pp. 545-558.
Drake, Kenneth. The Sonatas of Beethoven: As He Played and Taught Them. Bloomington: Indiana University Press, 1981.
Einstein, Alfred. Mozart: His Character, His work. Trans. Arthur Mendel and Nathan Broder. New York: Oxford University Press, 1962.

Eisen, Cliff, and Stanley Sadie. “Mozart.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 17. 2001, pp. 276-349.
Ferguson, Howard. Keyboard Interpretation From the 14th to the 19th Century. New York: Oxford University Press, 1975.
Forbes, Elliot, ed. Thayer’s Life of Beethoven. New Jersey: Princeton University Press, 1964.
Friskin, James, and Irwin Freundlich. Music for the Piano. New York: Dover Publications, Inc., 1973.
Gordon, Stewart. A History of Keyboard Literature: Music for the Piano and It’s Forerunners. Australia: Schirmer, 1996.
Grout, Donald J. and Claude V. Palisca. A History of Western Music. New York: W. W. Norton & Company, 1988.
Hatten, Robert S. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press, 1994.
Heartz, Daniel, and Bruce Alan Brown. “Empfindsamkeit.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 8. 2001, pp. 190-192.
Hildebrandt, Dieter. Pianoforte: A Social History of the Piano. New York: G. Braziller, 1988.
Johnson, Douglas, Alan Tyson, and Robert Winter, The Beethoven Sketchbooks. Berkeley: University of California Press, 1985.
Judd, Cristle Collins. Reading Renaissance Music Theory. New York: Cambridge University Press, 2000.
Keefe, Simon P., ed. The Cambridge Companion to Mozart. New York: Cambridge University Press., 2003.
Kenneth, Drake. The Beethoven Sonatas and The Creative Experience. Bloomington: Indiana University Press, 1994.
Koch, Heinrich Christoph. Musikalisches Lexiko. New York: Barenreiter, 2001.
Letňanová, Elena. Piano Interpretation in the Seventeenth, Eighteenth and Nineteenth Centuries. North Carolina: McFarland & Company, Inc., 1991.
Ledbetter, David and Howard Ferguson. “Prelude.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 20. 2001, pp. 291-293.
Linde, Thomas. “Mozart’s Fantasy in C Minor, K. 475: Paragon and Enigma of the Classical Fantasy.” 18th Century Piano Literature Symposium. Taipei: Fu-Jen Catholic University Music Department, pp. 171-193.
Loesser, Arthur. Men, Women, and Pianos . New York: Dover Publications, 1990.
MacClintock, Carol, ed. Readings in the History of Music in Performance. Bloomington: Indiana University Press, 1982.
Macdonald, Hugh. “Fantasy and Order in Beethoven’s Phantasie op.77.” Modern Musical Scholarship. Ed. Edward Olleson, Boston: Oriel Press, 1978, pp. 141-150.
Marshall, Robert L., ed. Eighteenth-Century Keyboard Music. New York: Macmillan Publishing Company, 1994.
McGee, Timothy J. Medieval and Renaissance Music. England: Scolar Press, 1985.
Mercado, Mario R. The Evolution of Mozart’s Pianistic Style. Carbondale: Southern Illinois University Press, 1992.
Newman, William S. Beethoven on Beethoven-Playing His Piano Music His Way. New York: W. W. Norton & Company, 1988.
Ottenberg, Hans-Günter. Carl Philipp Emanuel Bach. Trans. J. Whitmore. Oxford: Oxford University Press, 1987.
Pestelli, Giorgio. The Age of Mozart and Beethoven. New York: Cambridge University Press., 1984.
Ratner, Leonard G. Classic Music-Expression, Form, and Style. New York: Simon & Schuster, 1980.
Richards, Annette. The Free Fantasia and the Musical Picturesque. New York: Cambridge University Press, 2001.
---. C. P. E. Bach Studies. New York: Cambridge University Press, 2006.
Ridler, Ben, and Louis Jambou. “Tiento.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 25. 2001, pp. 467-468.
Rosen, Charles. The Classical Style：Haydn, Mozart, Beethoven. New York: W. W. Norton & Company, Inc., 1997.
Schenker, Heinrich. Harmony. Ed. Oswald Jonas, Chicago: The University of Chicago Press, 1980.
---. The Masterwork in Music. Ed. William Drabkin, Vol. 1, New York: Cambridge University Press, 1994.
Schindler, Anton. Beethoven as I Knew Him. New York: Dover Publications, 1996.
Schleuning, Peter. The Fantasia. Trans. A. C. Howie, Cologne: Arno Volk Verlag, 1971.
Schonberg, Harold C. The Great Pianists. New York: Simon & Schuster, 1987.
Schwandt, Erich. “Capriccio.” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie, Vol. 5. 2001, pp. 100-101.
Siseman, Elaine R. “After the Heroic Style: Fantasia and the Characteristic Sonatas of 1809,” Beethoven Forum 6. Ed. Lewis Lockwood, Lincoln: University Nebraska Press, 1988, pp. 67-96.
Solomon, Maynard. Beethoven. New York: Schirmer Books, 1977.

Sonneck, Oscar G. T. Beethoven: Impressions by His Contemporaries. 1967.
Stowell, Robin, ed. Performing Beethoven. New York: Cambridge University Press, 1994.
Todd, R. Larry. Nineteenth-Cencury Piano Music. New York: A Division of Macmillan, Inc.,1990.
Tovey, Donald Francis. A Companion to Beethoven's Pianoforte Sonatas. London: The Associated Board of the Royal Schools of Music, 1931.
Türk, Daniel Gottlieb. Klavierschule. Leipzig and Halle, 1789. Trans. Raymond H. Haggh, School of Clavier Playing. London: University of Nebraska Press, 1982.
Uhde, Jürgen. Beethoven’s Klaviermusk. Vol. 1. Stuttgart: Philip Reclaim jun., 1968.
Wolff, Konrad. Masters of the Keyboard: Individual Style Elements in
the Piano Music of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. Bloomington: Indiana University Press, 1990.
Wyn Jones, David. The Life of Beethoven. New York: Cambridge University Press, 1998.

外文期刊與論文
Coppola, Catherine. “Form and Fantasy 1870~1920.” Diss. City University of New York, 1998.
Head, Matthew William. “Fantasy in the Instrumental Music of C. P. E. Bach.” Diss. Yale University, 1995.
Helm, Eugene. “The Hamlet Fantasy and the Literary Element in C. P. E. Bach’s Music.” Musical Quarterly. 58, 1972, pp. 277-296.

Hirsch, Paul. “A Mozart Problem.” Music & Letters. Vol. 25, No. 4, 1944, pp. 209-212.
Lenneberg, Hans. “Johann Mattheson on Affect and Rhetoric in Music I.” Journal of Music Theory. April, 1958, pp. 47-84.
---. “Johann Mattheson on Affect and Rhetoric in Music II.” Journal of Music Theory. November, 1958, pp. 193-236.
Newman, William S. “Emanuel Bach’s Autobiography.” Music Quarterly. Vol. 51, 1965, p. 371.
Owens, Jeremy. “Disunity and Order in Beethoven’s Fantasy op. 77.” Diss. The University of Alabama, 2007.
Parker, Jesse. “The Clavier Fantasy from Mozart to Liszt: A Study in Style and Content.” Diss. Stanford University, 1974.
Riemann, Hugo. “Beethoven’s Prometheus-Musik.” Die Musik. Vol. 9, 1910, pp. 19-34.
Rink, John. “Schenker and Improvisation.” Journal of Music Theory. Vol. 37, 1993, pp. 1-54.
Schorr, Timothy Brain. “The Romantic Piano Fantasia: An Historical Survey of the Classifications, Composers, and Repertory, ca. 1800-1850.” Diss. University of Cincinnati, 1997.
Schulze, Sean. “An Ignored Fantasy: An Examination of Beethoven’s Fantasy for Piano op. 77.” Diss. The University of Arinona, 1999.
Shedlock, J. S. “Beethoven Sketches Hitherto Unpublished.” The Musical Times. Vol. 50, No. 801, 1909, pp. 712-714.

樂譜
Bach, Carl Philipp Emanuel. 6 Sonaten für Klavier. Mainz: Schott Musik International GmbH & Co., 1935.
Beethoven, Ludwig van. Piano Works. 台北：全音樂譜出版社。
Gabrieli, Andrea. Sämtliche Werke für Tasteninstrumente. Vol. 5. Doblinger, 1997.
Maitland, J. A. Fuller and W. Barclay Squire. ed. The Fitzwilliam Virginal Book. Vol. 1. New York: Dover Publications, Inc., 1979.
Mozart, Wolfgang Amadeus. Fantasy and Sonata C Minor K475/457. Wien: Wiener Urtext Edition, 2000.
---. Klavierstücke Piano Pieces. Wien: Wiener Urtext Edition, 1973.