賽巴斯騫‧巴赫西元一七二○年代始之鍵盤協奏曲第一樂章，使用當時協奏曲慣用之「合頭曲式」（ritornello form）創作，西元一七三八年，艾曼紐‧巴赫的鍵盤協奏曲第一樂章在獨奏段落的調性與素材使用上已開始顯示奏鳴曲式概念，至莫札特一七八四年以前的協奏曲可清楚看到兩種曲式的共生，理論家稱之為「協奏曲─奏鳴曲式」（concerto-sonata form）。本文主要討論海頓於一七八四年創作的《D大調鍵盤協奏曲》，此協奏曲在和聲走向及樂團與獨奏間的關係，較偏向艾曼紐‧巴赫的方式，但在素材使用及主題分配上，則偏向於莫札特的手法。
本論文除了前言及結論之外，共分為三個部分，第一部分主要探討西元一七八四年以前鍵盤協奏曲之發展；第二部分敘述海頓《D大調鍵盤協奏曲》第一樂章的創作背景及相關資料，並舉出艾曼紐‧巴赫與莫札特影響海頓之證據；第三部分分析海頓《D大調鍵盤協奏曲》第一樂章的形式與功能，包括配器和聲、主題動機、獨奏與樂團合奏間關係及裝飾奏，希望能從中找出海頓的傳承與創新手法。

The first movement of Johann Sebastian Bach's keyboard concertos was applied the ritornello form in 1720s. The first movement of Carl Philipp Emanuel Bach's keyboard concertos in 1738 had already showed the concept of sonata form on harmonie usage and materials in the solo sections. Up to 1784, the first movement of Mozart's keyboard concertos clearly had the coexistence of two forms. Theorist called it as "concerto-sonata form". This thesis mainly discuses Haydn's D Major Keyboard Concerto composed in 1784. In this concerto, the use of harmonies and the relationship between the orchestra and soloist is closed to Emanuel Bach's writing, but the using of the materials and themes are closed to Mozart's.
In addition to the introduction and conclusion, this thesis includes three parts. Part one is explored the development of the first movement form of keyboard concertos before 1784. The second part describes Haydn's D Major Keyboard Concerto compositional background and related information. It also gives the evidence how Emanuel Bach and Mozart influenced Haydn's writhing. The third part analyses Haydn's D Major Keyboard Concerto first movement's form and function; the contents include the using of orchestration, harmonies, themes, motives; the relationship between the orchestra and soloist; and the cadenzas. Hopefully, through this research, we can find out the inheritance and innovation of Haydn's keyboard concertos.

論文審定書..........................................................................i
誌謝...................................................................................ii
中文摘要............................................................................iii
英文摘要............................................................................iv
前言...................................................................................1
一七八四年以前鍵盤協奏曲第一樂章之發展............................5
海頓《D大調鍵盤協奏曲》之創作背景..................................16
海頓《D大調鍵盤協奏曲》第一樂章之傳承與創新..................22
結論..................................................................................44
參考文獻............................................................................46
附錄一...............................................................................50
附錄二...............................................................................54

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