摘要 「水」具有千變萬化的屬性及聲光現象，一直是作曲家嘗試表現的創作題材，特別是在印象樂派作曲家。在音樂史上，豎琴細緻的音色總是被用來協助、描繪音樂中與水、風、或火等許多與自然景象有關的標題音樂，其自然也成為作曲家以音樂呈現「水」曲有利的樂器。印象樂派作曲家德布西創作《海》與《夜曲》第三樂章＜人魚＞與拉威爾《達夫尼與克羅埃》第二組曲中的＜黎明＞等與「水」有關的管弦樂作品中，運用豎琴獨特的音色以及各技巧所構成的音型來協助描繪水浪婆娑變化的景象，並在樂譜上細緻鋪陳每一項音樂要素，來達到他們所期待的音樂性效果，將音樂能捕捉「水」的各種風貌發揮到淋漓盡致。除了德布西與拉威爾之外，法國印象樂派中豎琴家們哈斯曼的《泉》、杜聶爾的《林中之泉》以及薩爾澤多的《水之嬉戲》等與「水」有關連的豎琴獨奏曲更是直接以豎琴的音樂語言與色彩來描述、描繪「水」流動多元、多變的風貌。本文為豎琴在法國印象派裡「水」曲意涵中運用之探討，其研究內容包括（一）德布西與拉威爾管弦樂「水」曲運用豎琴之探討；（二）哈斯曼、杜聶爾以及薩爾澤多豎琴獨奏「水」曲之探討；（三）豎琴演奏技巧與詮釋之探討；（四）結論。

Abstract The French Impressionistic composer’s unique compositional technique is reflected in his melodic, harmonic, rhythmic, and coloristic exploitation, as well as aesthetic approach. Both Debussy and Ravel were brilliant orchestrators concerning the coloristic possibilities of all instruments, and used instrumental timbres effectively. Their harp writings are regarded to the best composers in the Western music history. The purpose of this study is to approach the characteristic of French composers’ harp writings related to “water” from aesthetic perspective. This study of using harp within French Impressionistic “Water” music is also including harpist-composers’ works: Hasslmans’s La Source, Tournier’s Vers la Source dans le Bois, Salzedo’s Jeux d’eau. The content of this study presents （1）both Debussy’s and Ravel’s orchestral works related to “water”；（2）three harpist-composers’ works related to “water”；（3）the interpretation of harp performance practices；（4）the conclusion.