本論文以《女武神》為研究主軸，佐以華格納自寫文章如1849年的〈藝術與革命〉與〈未來的藝術作品〉、1850至1852年〈歌劇與戲劇〉，及1851年〈致吾友〉之見解，探討華格納將總體藝術作品觀，及其實際應用於《女武神》創作的結果。所得結論如下：一、倡導神話題材的運用，此點由《女武神》與《奧瑞斯提亞》、《艾達經》、《威松格傳說》及《尼貝龍根之歌》四項神話題材密不可分得以印證。二、深刻的戲劇情節必須透過感情產生：《女武神》亦以透過觀眾自身感情經驗的方式，傳達各種深刻的戲劇元素。三、戲劇文字語言中頭韻的重要性，在《女武神》中不乏許多以頭韻法創作劇詞的實例。四、戲劇中文字語言須與聲音語言結合：例如《女武神》第三幕第三景佛旦與布琳希德告別時，除了由文字傳達佛旦的不捨，更由音樂表達了文字未能傳達的原諒與和解。五、倡導主導動機結合管絃樂團將讓戲劇臻至圓滿，從《女武神》劇中亦可分析出三項華格納使用主導動機結合管絃樂團，表現出戲劇深刻意念的方式與特色。

This research studies Wagner's perspectives of Gesamtkunstwerk and its practice on opera Die Walkuere. It quotes the evidences in the articles “Die Kunst und die Revolution” (1849), “Das Kunstwerk der Zukunft”(1849), “Oper und Drama” (1850- 1852) and “Eine Mitteilung an meiner Freunde”(1851), which were authored by Wagner. The study leads to the conclusion as follows: 1. The myth is the source of plot. From the point of view, Die Walkuere is proved to be closely dependent with the myths Oresteia, Edda, Voelsungen-Saga and Das Nibelungenlied. 2. The essence of the opera is realized by human awareness: Die Walkuere presents the opera elements through inspiring audiences their self-awareness. 3. Alliteration is important in literal language of drama: Examples constructed by alliteration were presented frequently in Die Walkuere. 4. The combination of literal and vocal language of drama are definitely required. 5. Leitmotiv accompanied with Orchester is the key to optimize the opera performance.

目錄
第一章　緒論　　19
第二章　總體藝術作品之前導與架構　　29
　　第一節　華格納對歌劇發展史的觀感　　30
　　　　一、歌劇史上的亂象　　31
　　　　二、值得讚許的歌劇藝術形式　　34
　　第二節　華格納提出的總體藝術作品概念　　39
　　　　一、戲劇的藝術本質　　39
　　　　二、戲劇的文字語言　　42
　　　　三、戲劇的聲音語言　　43
　　　　四、戲劇中管絃樂團的角色　　46
第三章　《女武神》創作背景與戲劇音樂內容　　49
　　第一節　《尼貝龍根指環》的創作背景　　49
　　　　一、1848年華格納所處的政經與社會情勢　　49
　　　　二、《尼貝龍根指環》創作始末　　52
　　第二節　《女武神》創作始末　　56
　　第三節　《女武神》幕景劇情簡介　　57
第四章　《女武神》實現總體藝術作品之戲劇文學觀　　61
　　第一節　神話題材　　61
　　　　一、《奧瑞斯提亞》　　63
　　　　二、《艾達》　　64
　　　　三、《威松格傳說》　　66
　　　　四、《尼貝龍根之歌》　　69
　　第二節　戲劇意念　　71
　　第三節　文字與音樂的結合　　76
　　　　一、第三幕第二景佛旦責備布琳希德違抗命令　　76
　　　　二、第三幕第三景佛旦與布琳希德告別的段落　　79
第五章　《女武神》實現總體藝術作品之戲劇音樂觀　　87
　　第一節　主導動機與華格納總體藝術作品音樂觀　　87
　　　　一、主導動機的基本定義　　87
　　　　二、華格納對主導動機的看法　　88
　　第二節　《女武神》之音樂主導動機　　92
　　　　一、劇情發展與主導動機的關係　　93
　　　　二、各主導動機之戲劇意義　　116
　　　　三、主導動機的特色與其複雜性　　161
　　第三節　主導動機結合管絃樂團實踐總體藝術作品之戲劇音樂觀　　162
　　　　一、管絃樂團的特色　　162
　　　　二、音樂調性的特色　　171
第六章　結語　　177
參考書目　　182
附錄　《尼貝龍根指環》人物關係表　　192

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二、期刊論文
Apthorp, William F.
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Miles, George B.
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Nordau, Max
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Staton, Edmund C.
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羅基敏
　　1992　　〈華格納的尼貝龍根的指環——音樂與戲劇的結合〉。《藝術評論》，第四期。台北市：國立藝術學院，153-155。

三、影音資料
CD:
《華格納：「尼布龍根的指環」全曲》（1997）。台北市：福茂。（CD編號：4555552）。（Original: Wagner: Der Ring des Nibelungen (1965). New York: London Records. Decca 414105-2）

CD-Rom:
The Ring disc: an interactive guide to Wagner's Ring cycle- electronic resource (1997). Urbana: Media Cafe Publishing.

DVD:
Richard Wagner. Die Walküre: Bayreuther Festspiele (1980). München: Phillips. (Phillips 070 402-9).

四、譜例
Jameson, Frederick and Karl Klindworth (ed.)
　　1899　　Richard Wagner: Das Rheingold. Mainz: B. Schott's Söhne (Pl. No. 26520).
　　1904　　Richard Wagner: The Ring of the Nibelung: Second Part: Die Walküre. Mainz: B. Schott's Söhne (Pl. No. 26590).
　　1904　　Richard Wagner: The Ring of the Nibelung: Forth Part: Dusk of the gods. Mainz: B. Schott's Söhne (Pl. No. 26809).
　　[1900]　　Richard Wagner: Siegfried. Mainz: B. Schott's Söhne (Pl. No. 26800).
Wagner, Richard
　　[1874]　　Die Walküre: In Full Score. Mainz: B. Schott’s Söhne (Pl. No. 10170). Reprint: mit Bemerkungen von Felix Mottl, [1921], Leipzig: C. F. Peter; 1978, New York: Dover Pubiscations.