安東尼‧迪洛倫佐（Anthony DiLorenzo1967-）的《低音號奏鳴曲》(Sonata for Tuba and Piano)，其和聲與樂曲架構不同於傳統固定框架。除了以較自由的創作手法來陳述主題，並在和聲上經常使用借用和絃，與色彩和絃來豐富和聲色彩；在段落連接，經常使用平行和絃營造音樂的氛圍，並製造音樂的張力。也因為多變音樂風格，與豐富的節奏變化，使得本作品迅速成為各大比賽標準樂曲之一。
本論文共分五章，第一章緒論：敘述研究動機、方法、範圍；第二章創作背景：整理了作曲家重要作品，再彙整歷史上重要的低音號奏鳴曲以觀察其發展脈絡；第三章樂曲分析：依樂章分節說明各樂章樂曲架構、與創作手法與特色；第四章樂曲詮釋：以克雷格‧諾克斯(Craig Knox)的演奏版本論述演奏詮釋，再提供筆者個人演奏詮釋建議；第五章則為結論。
Anthony DiLorezo’s Sonata for Tuba breaks through the traditional framework of the harmony schemes and the structure of a sonata. He employs relatively free techniques to state the themes. As to the harmony, he frequently mixes the parallel natural minors and harmonic minors together to construct colorful new chords. Besides the aforesaid factors, he also like to link sections in music by using parallel chords to create tensions of music.
This paper is composed of five chapters as below. The first chapter is an introduction to my research motivations, methods and scopes. The second chapter sorts significant works of the composer and, introduces important representatives of sonatas for Tuba and piano before Anthony DiLorenzo. The third chapter explains the musical structure of each movement based on sections. The fourth chapter discussed its interpretation. Not only The author at first analyses Craig Knox’s significant recording and then proposes his own ideas. The fifth chapter is the conclusion.
