这首《长笛奏鸣曲》虽然以传统的曲式结构来创作,但不以调性而以亨德密特自创的「中心音理论」来构思,显示出他不受传统调性的规则所束缚。线性对位的写作手法使横向的旋律比垂直的和声更引人注目,每个乐章具代表性的节奏型不仅使各段落有所连贯,也增加乐曲进行的脉动。在「乐曲诠释」方面,受到新古典主义的影响,要以客观、理性的态度来演奏,其中以风格转换时的速度、力度及气氛的掌握最为重要,而主题素材在紧密的衔接之下,考验着长笛与钢琴相互配合的默契,这些特点使亨德密特《长笛奏鸣曲》在二十世纪的长笛作品中占有一席之地。 Although the original “flute sonata” is based on the traditional music structure, it is not conceived by Hedmitt’s “center tone theory”, showing that he is not bound by the rules of traditional tonality . Linear alignment of the writing technique makes horizontal melody more vertical than vertical harmony, each movement of a representative rhythm pattern not only make the paragraphs coherent, but also increase the pulse of the music. In the aspect of “interpretation of music”, influenced by neoclassicalism, it is necessary to play it objectively and rationally. Among them, the speed, intensity and atmosphere at the time of style transformation are the most important aspects. Under the closely connected theme materials, Test the tacit understanding of the synergy between flute and piano, these features make Hendrick’s “Flute Sonata” a place in the flute of the twentieth century.