本論文透過探討華格納（Richard Wagner, 1813-1883）《浮士德序曲》（A Faust Overture）和 舒曼（Robert Schumann, 1810-1856）《浮士德場景》（Scenes from Goethe’s Faust）中受到貝多芬 （Ludwig van Beethoven, 1770-1827）《第九號交響曲》（The Ninth Symphony）的影響，進而了解 19 世紀下半浪漫主義音樂的發展。受到Habeneck《第九號交響曲》彩排的影響後，華格納寫下 了《浮士德序曲》，此為一部創作於德國兩大著名人物貝多芬和歌德（Johann Wolfgang von Goethe, 1749-1832）和其作品《第九號交響曲》和《浮士德》的影子下的作品，同時亦為華格納「樂劇」 （music drama）之濫觴。於1849 年和1851 發表的兩篇文獻中，華格納宣稱「樂劇」為承襲貝 多芬精神最理想的藝術型態，並暗示自己為貝多芬德國音樂的繼承者。同時，華格納這前衛的 概念在德國音樂界中卻引起了保守份子極大的爭議。於是兩個不相容的陣容於19 世紀下半觸發 出西方音樂史上著名的「貝多芬戰爭」。顯而易見，同樣受到貝多芬和歌德的影響下於1853 年 完成的《浮士德場景》正是一部反華格納的音樂，於此作品中亦可觀察舒曼個人對貝多芬式德 國音樂的見解。

This study investigates the lineage passing from Beethoven’s Ninth Symphony to Wagner’s A Faust Overture and Schumann’s Scenes from Goethe’s Faust, to explore the developmental process of German music during the second half of the nineteenth century. Inspired by his listening experience of Habeneck’s rehearsal of Beethoven’s Ninth in 1839, Wagner composed the Faust Overture – which draws on two nineteenth-century German monumental works, Beethoven’s Ninth and Goethe’s Faust. Moreover, it has an indelible influence on the formation of Wagner's idea of music drama. In two articles published in 1849 and 1851, Wagner implied that music drama is the ideal model of post-Beethovenian German music. However, it begot dissenting voices among more conservative composers. The famous ‘battle for Beethoven’ was thereby triggered by the incongruity of the two camps. Apparently, Schumann’s Scenes from Goethe’s Faust is an anti-Wagnerian work in its essence; from this work, Schumann also proposed the post-Beethovenian German musical ideal in his vision.