摘 要 印象派繪畫是十九世紀末期在歐洲興起的重要藝術派別之一。印象派的畫家運用光線與色彩瞬間不同的視覺印象來作畫，捨棄傳統技巧用線條勾畫具體的輪廓。這種印象派繪畫也影響到音樂領域。印象派音樂理念與印象派繪畫一樣，不是實際的描述，而是用一種類似暗示的手法，呈現樂曲中的主題。因此朦朧、夢幻、神秘的「幻象」情境音響效果便成為印象派音樂風格重要的特色之一。法國作曲家德布西在音樂史上被視為開創了印象派音樂；同時與他並列為印象派大師還有拉威爾。豎琴獨特的音色經常被用來協助、描繪印象派音樂中的「幻象」情境。除了德布西與拉威爾之外，法國印象樂派中豎琴家杜聶爾的《晨曦》更是直接以豎琴的音樂語言與色彩來描述、描繪樂曲中「幻象」的情境。本文為豎琴在法國印象派裡「幻象」情境中運用之探討，其研究內容包括（一）印象派「幻象」音效的創作手法；（二）豎琴在德布西管弦樂曲「幻象」情境之運用；（三）豎琴在拉威爾管弦樂曲「幻象」情境之運用；（四）杜聶爾豎琴獨奏曲「晨曦」之探討；（五）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 “image” from aesthetic perspective. This study of using harp within French Impressionistic “imager” music is also including harpist-composer, Tournier’s Au Matin. The content of this study presents （1）both Debussy’s and Ravel’s orchestral works related to “image”；（2）Tournier’s Au Matin related to “image”；（3）the interpretation of harp performance practices；（4）the conclusion.