巴洛克時期協奏曲的發展以獨奏協奏曲為主，作曲家通常選擇以小提琴為獨奏樂器。在當時，雖然已有不少的大鍵琴獨奏曲出現，但樂團中之大鍵琴大多被視為演奏數字低音的樂器，因此，在獨奏協奏曲發展初期沒有特別為大鍵琴創作的獨奏協奏曲。直到成熟時期的約翰．塞巴斯汀．巴赫將大鍵琴作為協奏曲中之獨奏樂器，並開啟了日後巴赫於萊比錫時期創作大鍵琴協奏曲的方向。
巴赫創作的大鍵琴協奏曲，主要題材是改編自其他作曲家或自己的器樂協奏曲。本文選擇以巴赫於萊比錫時期創作的大鍵琴協奏曲作品一○五二，探討巴赫如何使其大鍵琴部分脫離數字低音角色，成為獨奏樂器。
本文共分為三個部分闡述，首先將巴洛克時期獨奏協奏曲之發展稍作敘述，第二部分為巴赫的大鍵琴協奏曲作品探討，第三部分研究巴赫大鍵琴協奏曲作品一○五二之改編手法及與其相關作品：清唱劇作品一四六、艾曼紐．巴赫大鍵琴協奏曲作品一○五二a、威佛瑞德．費雪根據大鍵琴協奏曲作品一○五二改編之小提琴協奏曲做作比較，最後對所研究之內容作總結。

In Baroque period, the concerto development mainly focus on solo concerto. Composers choosed violin as the primary solo instrument. At that time, harpsichord was treated as the basso continuo instruments in orchestra. No harpsichord concerto is found at the beginning of the development of solo concerto. Johann Sebastian Bach was the first composer who used harpsichord as solo instrument for concerto.His harpsichord concerto in Weimar period foreshadow harpsichord concerto in Leipzig period.
The harpsichord concertos of J.S.Bach borrowed materials from other composers` or his own solo concertos. This paper uses harpsichord concerto BWV1052 as example to investigate the way Bach changed the role of harpsichord from basso continuo to solo instrument.
This paper includes three parts. First, the development of the solo concerto in the Baroque period is explored. The second part focuses on harpsichord concertos of J.S.Bach. Thirdly, examines how Bach borrowed his own materials from Cantata BWV146 to BWV1052, and the relationship among C.P.E.Bach`s harpsichord concerto BWV1052a, Wilfried Fischer `s Violin concerto reconstruction BWV1052 and BWV1052. Finally, a conclusion will be made.

前言---------------------------------------1
巴洛克時期獨奏協奏曲之發展-----------------2
巴赫之大鍵琴協奏曲-------------------------9
大鍵琴協奏曲作品一○五二改編手法之應用-----15
結語---------------------------------------39
參考書目-----------------------------------41

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樂譜
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