中文提要：
　　克利斯田·巴赫畢生創作可分為柏林、義大利及倫敦三個時期，鍵盤協奏曲的創作集中於柏林及倫敦二個時期，柏林時期創作的協奏曲受其兄艾曼紐·巴赫的影響，倫敦時期的創作則與當時的音樂環境有密切關聯。
　　本論文研究倫敦音樂環境與克利斯田·巴赫鍵盤協奏曲之間的關聯。全文除了緒論與結論外共分為三章，第一章為相關背景探討，包括克利斯田·巴赫生平、獨奏協奏曲的發展及鍵盤協奏曲在倫敦之發展；第二章討論十八世紀後半倫敦的音樂環境；第三章為詳細探討克利斯田·巴赫柏林與倫敦時期鍵盤協奏曲的差異，並藉由創作背景，找出克利斯田·巴赫協奏曲風格改變的原因。
　　克利斯田·巴赫於一七六二年至一七八二年間旅居倫敦，擔任皇后夏洛蒂的音樂教師，同時他積極參與公開音樂會的演出、教學及作曲。他在倫敦創作三組重要的鍵盤協奏曲，分別是作品第一號、作品第七號及作品第十三號，每組包含六首。每首協奏曲包括二個樂章為主，風格具前古典時期均衡、對稱的特色。器樂技巧以業餘演奏者的能力為主要考量，獨奏部份技巧簡單，以符合教學及市場上的需求。此外，受到樂器製造業的影響，作品第七號及作品第十三號的獨奏樂器以大鍵琴及鋼琴為主，但更傾向於使用鋼琴演奏。當時倫敦的經濟富裕、出版業蓬勃、樂器製造技術進步、公開音樂會盛行，加上皇室及業餘演奏者對音樂的需求，影響了克利斯田·巴赫鍵盤協奏曲的創作內涵。

The compositional periods of Johann Christian Bach, the youngest son of J. S. Bach, include Berlin, Italy, and London, and the keyboard concertos were written in Berlin and London. The works written in Berlin period were influenced by his brother, C. P. E. Bach, and the styles of those concertos written in London were created under the musical atmosphere of London society.
The thesis is a study of the relationship between the London musical society and keyboard concertos of J. C. Bach. The discussion includes three chapters, in addition to the introduction and conclusion. Chapter one is the general discussions about the composer, the development of solo concerto, and historical background of the keyboard concerto in London. The second chapter focuses on the musical society in London in the second half of the eighteenth century. The third chapter contains detailed discussions of the style differences of the keyboard concertos composed by J. C. Bach between the Berlin and London periods.
J. C. Bach was the private music tutor of Queen Charlotte, while traveling in London during 1762 to 1782. At the same time, he also participated in teaching, composing, performing, and organizing public concerts very actively. He wrote three sets of keyboard concertos, opus 1, 7, and 13. Each set includes six concertos, and each of which mainly contains two movements. The style of keyboard works of J. C. Bach are characterized by the pre-classical styles of symmetry and balance of the phrases. The concertos were written mostly for amateurs, and in order to satisfy the necessity of the musical market and teaching, the skill of the solo part was not technical demanding, they were simple. The concertos were composed for both harpsichord and piano, but more intended for the piano instrument, especially opus 7 and 13. The wealth economy, the improvement of manufacture techniques of the keyboard instrument, the prevailing public concerts, and the musical needs for Royal family and amateur musicians in London were the important reasons that effected the stylistic changing of J. C. Bach’s writing of keyboard concertos.

目 次


緒 論………………………………………………1

第一章 背景探討………………………… 8
第一節 克利斯田·巴赫的生平及作品概要
第二節 獨奏協奏曲於一七八Ｏ年前之發展
第三節 鍵盤協奏曲在英國之發展

第二章 十八世紀後半倫敦的音樂環境…34
第一節 社會概況
第二節 宮廷及社會階層的音樂活動
第三節 克利斯田·巴赫在倫敦的音樂活動

第三章 克利斯田·巴赫倫敦時期鍵盤協奏曲之探究62
第一節 柏林時期的鍵盤協奏曲
第二節 倫敦時期的鍵盤協奏曲
第三節 倫敦音樂環境對克利斯田·巴赫協奏曲創作之影響

第四章 結論 ……………………100

參考書目………………………………107

參 考 書 目


中 文


希伯特(Hibbert, Christopher)。《英國社會史》。賈士衡譯。臺北：
國立編譯館，民國八十四年九月。

潘興明著。《英國簡史》。臺北：書林出版有限公司，民國八十五年。

吳祖強編著。《曲式與分析》。臺北：世界文物出版社，民國八十三
年。



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