64 固德曼當時在各地到處奔走，指定委託作曲家創作單簧管的協奏曲。
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等，除了在單簧管的協奏曲中使用與弦樂團搭配外，在其他管樂器的協奏曲中也 不難見到。但是在這樣的編制當中，同時加入鋼琴與豎琴這兩樣樂器，科普蘭無 疑地成為一個創舉。
第三點則是結構的特殊性。相較於同時期其他作曲家的單簧管協奏曲，如英 國作曲家阿諾德（Malcolm Arnold, 1921-2006）一九四八年的《第一號單簧管協 奏曲》、英國作曲家芬濟（Gerald Finzi, 1901-1956）一九四九年的《單簧管協奏 曲》，或是法國作曲家波札（Eugene Bozza, 1905-1991 )一九五二年所寫的《單簧 管協奏曲》等，都是使用標準的協奏曲三樂章形式來寫作，而科普蘭的這首單簧
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元素的巧妙使用，也實現了科普蘭一直以來所追求的，將爵士音樂以一種更有藝 術價值的方式呈現出來。
科普蘭的《單簧管協奏曲》能夠普遍受到歡迎，或許也是因為第一樂章的旋 律優美、容易記憶，曲中的惆悵情懷令人感動；而第二樂章的素材通俗，使用朗 朗上口的曲調，再加上饒富趣味的節奏元素，曲風更為生動活潑，讓人印象深刻；
而全曲在演奏上，技巧與控制力的要求極高，是為一個相當值得練習的曲目，這 也是這首協奏曲至今仍屹立不搖的主要原因之一。
希望藉著本報告的分析與整理，讀者對於科普蘭的《單簧管協奏曲》，能夠 有更進一步的瞭解。也希望從作曲家的創作理念、此曲的創作源由，樂曲中的創 作手法與通俗素材的運用，以及此曲的獨特性等各方面的探討，得以還原作曲家 在當時寫作這首曲子的原意。在更清楚此曲的時代意義的同時，期待在詮釋的時 候，能更貼近這首曲子的原貌。
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