Abstract
Abramo Basevi, the author of Studio sulle opere di Giuseppe Verdi (1859), provided a powerful analytical foundation for Verdi’s operas study in verbal organization, music and dramatic action. From his point of view, arias, duets and finales organized by Italy composers in the early nineteenth century such as Gioachino Rossini, Vincenzo Bellini and Goaetano Donizetti, have been formalized as fixed-designs gradually. Basevi termed the “convention” as “La solita forma” which was developed and popularized by Rossini.
Verdi composed characteristic trilogy: Rigoletto, Il trovatore and La traviata in 1851-1853. It’s shown clearly that Verdi has a highly innovative spirit in the material of drama and he drew those roles in the operas with very impressed psychological condition. On the other hand Verdi mostly obeys Italian customary forms—“number operas” and “solita forma” in organization lyric numbers. As a matter of fact Verdi used conventional pattern, and in a manner, he transformed it gently and gradually. He hardly tried any innovative method differently to enhance dramatic momentum and accomplish his melodrama.
In the thesis consists of six chapters. Chapter One mentions Basevi’s background. Chapter Two gives definitions of “La solita forma” in different viewpoints, and treats of Rossini’s organization of arias, duets, and central finales, reviews their design. Chapter Three, Four and Five give a discussion on the application and reforms of “La solita forma” in three operas. Chapter Six concludes Verdi’s various techniques for convention improvement.
Base on this thesis, Tradition and Innovation elements in Verdi’s operas have been realized and analyzed discreetly.
第一章　緒論 1
第二章「梭利塔模式」（La solita forma）概述 5
第一節 詠嘆調 10
第二節 二重唱 14
第三節 終曲 22
第三章 三部歌劇之詠嘆調「梭利塔模式」 分析29
第一節 Scena與Adagio 32
第二節 Tempo di mezzo與Cabaletta 39
第三節 詠嘆調「梭利塔模式」的擴大與變形 44
第四章 三部歌劇之二重唱「梭利塔模式」分析 51
第一節 Scena、Tempo d’attacco與Tempo di mezzo 55
第二節 Adagio 64
第三節 Cabaletta 69
第四節　小結 75
第五章 三部歌劇之終曲「梭利塔模式」分析 77
第一節 終曲（Central Finale） 79
第二節 最後一幕終曲（Ultimo Finale）89
第六章　結論 99
參考書目
一、 中文資料
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羅基敏。《文話/文化音樂》。台北：高談，1999。

居其宏。《歌劇美學論綱》。合肥：安徽，2002。

張筠青。《歌劇音樂分析》。北京：高等教育，2004。

高士彥。《歌劇的藝術大師：威爾第》。台北：世界文物，2001。

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劉詩嶸、吳祖強（主編）。《威爾第：茶花女》。台北：世界文物，2000。

李振邦。《威爾第》。台北：希望，1972。

林蔭清。《義大利文藝術歌曲及歌劇選曲I》。台北：樂韻，1988。

林蔭清。《義大利文藝術歌曲及歌劇選曲II》。台北：全音樂譜，1992。

劉詩嶸、吳祖強（主編）。《威爾第：遊唱詩人》。台北：世界文物，2002。

洪明君。〈威爾第歌劇《茶花女》---女主角「薇奧雷塔」的分析〉。國立臺北藝術
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二、英文資料
Baldini, Gabriele. The story of Giuseppe Verdi --Oberto to Un Ballo in Maschera. New York: Cambridge University Press, 1980.

Balthazar, Scott Leslie. ”The Forms of The Set Pieces.” In The Cambridge Companion to Verdi, ed. Scott Leslie Balthazar, Cambridge: Cambridge University Press, 2004: 236-266.

. “Evolving Conventions in Italian Serious Opera: Scene Structure in the Works of Rossini, Bellini, Donizetti, and Verdi 1810-1850. ” Ph. D. Dissertation, Pennsylvania University, 1985.

. ” Analytic Contexts and Mediated Influences: The Rossinian Convenienze and Verdi’s Middle and Late Duets.” Journal of Musicological Research 10, (1990): 19-46.

. “Mayr, Rossini, and the Development of the Early Concertato Finale” Journal of the Royal Musical Association 116, no.2 (1991): 236-266.

Budden, Julian. The operas of Verdi I From Oberto to Rigoletto. New York: Oxford University, 1992.

. The operas of Verdi II From Il Trovatore to La Forza del Destino. New York: Oxford University, 1992.

. Verdi. New York: Schirmer Books, 1996.

. “Verdi and the Contemporary Italian Operatic Scene.” In William Weaver & Martin Chusid, eds. The Verdi Companion. New York: W.W. Norton & Company, 1979: 67-105.

Edgecombe, Rondney. Stenning. ”Some Observation on the Love Duets in La Traviata.” The Opera Quarterly 21, (2005): 217-221.

Gossett, Philip. “Gioachino Rossini and the Conventions of Composition. ” Acta Musicologica 42,(1970): 48-58.

. “The ‘Candeur Virginale’ of ‘Tancredi.’” Musical Times 121, (1971): 326-329.

. “Verdi, Ghislanzoni, and Aida: The Uses of Convention.” Critical Inquiry 1, (1974): 291-334.

. “Gioachino Rossini and the Conventions of Composition.” Acta Musicologica 42, (1970): 48-58.

Heartz, Daniel. “The Creation of the Buffa Finale in Italian Opera.” Proceedings of the Royal Musical Association 104 (1977-79): 67-78.

Kerman, Joseph. Opera as drama. California: University of California, 1988.

Kimbell, David. Verdi in the Age of Italian Romanticism. New York: Cambridge University, 1981.

. Italian Operas. New York: Cambridge University, 1991.

Osborne, Charles. The Complete Operas of Verdi. New York: Da Capo Press, 1969.

Parker, Roger. ”’Insolite Forme,’ or Basevi’s Garden Path.” In Leonora’s Last Act, ed. Roger Parker, New York: Princeton University Press, 1997: 42-60.

. Music in the Theater. United Kingdom: Princeton University Press, 1994.

Powers, Harold. ”La solita forma “and “The Uses of Convention”. Acta Musicologia 59, (1987): 65-90.

La Rosa, Joseph Salvatore. “Formal convention in Verdi’s FALSTAFF. ” Ph.D.Dissertation,Louisiana State University, 2006.

三、樂譜
Verdi, Giuseppe: Il Trovatore. (1994). New York: Dover.

Verdi, Giuseppe: Rigoletto. (1999). Italy: Ricordi.

Verdi, Giuseppe: La Traviata. (1990). New York: Dover.

四、網路
William and Gayle Cook Music Library http://www.dlib.indiana.edu/variations/scores/scores.html
Karadar Classical Music
http://www.karadar.com/Default.htm