貝多芬作有三十二首鋼琴奏鳴曲，分別創作於西元一七九五至一八二二年間，這些鋼琴奏鳴曲跳脫傳統奏鳴曲之束縛，不但見證著作曲家貝多芬的音樂成長歷程，也見證了奏鳴曲的歷史蛻變，其中包括鋼琴技巧之蛻變。於鋼琴技巧上，貝多芬中、晚期鋼琴奏鳴曲中，踏瓣之使用獲得前所未有之拓展。除了傳統用法外，貝多芬常使用長踏瓣，融入不同音域、和聲、力度與織度，製造出異於古典時期之獨特音效，並帶給演奏者無盡的挑戰。本研究擬就鋼琴演奏及教學角度，探討貝多芬鋼琴長制音踏瓣之詮釋，並以幾首重要鋼琴作品（如《丹光》奏鳴曲、《暴風雨》奏鳴曲、《華德斯坦》奏鳴曲及《熱情》奏鳴曲）之長踏瓣爲實例，列舉說明貝多芬鋼琴長踏瓣詮釋技巧，提供演奏、教學者進一步參考。

Beethoven's thirty-two piano sonatas, written from 1795 to 1822, are such cornerstones of piano literature that no serious pianist fails to include at least a few of them in his or her repertory. In the thirty-two sonatas, Beethoven transformed sonata form in every aspect, iucluding piano pedaling. The purpose of this paper is aimed at investigating Beethoven's use of the prolonged damper pedal Musical examples, drawn from important works such as ”Moonlight” Sonata, ”Tempest” Sonata, ”Walstein” Sonata, and ”Appassionata” Sonata, arc included to illustrate the interpretation of Beethoven's long pedals. It is hoped that this paper may serve as a reference for piano instructors and/or students.