約翰‧瑟巴斯提安‧巴赫(Johann Sebastian Bach, 1685–1750)在歷史中的重要性已無需贅述，其一生的創作與思想，在三百年後的今天仍然歷久彌新，不斷帶給愛樂者們激勵與感動，使更多學者與研究人員投入巴赫的研究之中。
本研究以巴赫《第二冊鍵盤曲集》(Clavier Übung II)中的曲目：《義大利協奏曲》(Italian Concerto, BWV 971)與《法國序曲》(French Overture, BWV 831)為主題；首先，探討樂曲創作背景以及作曲家的思想：從巴洛克(Baroque)時期之歷史文化、曲式體裁與樂器編制等面向切入，了解巴赫與當時代音樂活動之間的互動與關聯，進而知悉巴赫創作與出版樂曲的構想；接著，將針對樂曲本身做分析，從曲式結構、旋律和聲、節奏韻律、聲部織度與演奏詮釋等等層面，解析《義大利協奏曲》與《法國序曲》各樂章，並提出使用現代鋼琴演奏巴赫之音樂，需考量的演奏議題以及可能的詮釋方法。最後，在結論章中，會延伸闡述研究生個人觀點，並分享透過研究與演奏巴赫之《第二冊鍵盤曲集》所帶來的學習與啟發。

Johann Sebastian Bach (1685–1750) is one of the most influential musicians of all times. His music and cogitation are still deep-connected to human mind, continue to affect, inspire and trigger scholars and researchers to invest in Bach's research even after 300 years passed.
This thesis is based on the repertoires in Bach's Clavier Übung II: Italian Concerto (BWV 971) and French Overture (BWV 831).
The first part will elaborate Bach’s compositions and thoughts with the background of history, culture, music form and instrumentation of the Baroque period, as well as the interaction and connection between Bach and musical activities at his time, for the purpose of finding out Bach’s concept of composing and publishing music.
The second part analyzes two works of Bach: Italian Concerto (BWV 971) and French Overture (BWV 831). The analysis is based on musical structure, melody, harmony, rhythm and texture, and will also discuss the controversy of interpretation of Bach's music, and the possible answers to this issue.
In the end of this study, I will express my personal views and share the inspiration that came out from my own process of studying and performing Clavier Übung II.

Giliespie, John. Five Centuries of Keyboard Music, New York: Wadsworth Publishing. Company, 1965
Hill, John Walter, Baroque Music: Music in Western Europe 1580-1750, New York: W.W. Norton&Company, Inc.,2005
John Butt (EDT). The Cambridge Companion To Bach, Cambridge, New York and Australia: Cambridge University Press, 1997
Little, Meredith and Jenne, Natalie. edited by Thomas Binkley, Dance and the Music of J.S. Bach, Bloomington USA: Indiana University Press, 1991
Parry, C. Hubert H. Johann Sebastian Bach: The Story of the Development of A Great. Personality, London and New York: Greenwood Press Publishers, 1909
Quantz, Johann J. Versuch einer Anweisung die Flöte traversiere zu spielen. Berlin: 1752 Trans. Edward Reilly. On playing the flute. 2nd ed. Boston: Northeastern University Press, 2001
Sadie, Julie. A. Companion to Baroque Music. Oxford: Oxford University Press, 1998
Schulenberg, David. The Keyboard Music of J.S. Bach, New York: Taylor & Francis. Group, 2006
Veilhan, Jean-Claud. The Rules of Musical Interpretation in the Baroque Era (17th-18th. centuries), common to all instruments, 1979 translation by John Lambert. Paris: A. Leduc, 1979
朱友梅。〈由巴哈義大利協奏曲BWV 971看巴洛克時期協奏曲之發展對巴哈的影響〉。《藝術學報》，（80期，2007）：13–37
朱友梅。〈從巴哈c小調第二號組曲BWV 826檢視巴哈鍵盤組曲創作之變化〉。《藝術學報》，（81期，2007）：165–193
Dirst, Matthew. “Bach's French Overtures and the Politics of Overdotting,”Early. Music, Feb., 1997, Vol. 25, No. 1 (Feb., 1997), pp. 35-44
Garcia, Federico. “The Nature of Bach's "Italian Concerto" BWV 971,” Bach, 2005, Vol. 36, No. 1 (2005), pp. 1-24
Hilton, Wendy. “Dances to Music by Jean-Baptiste Lully,”Early Music, Feb., 1986, Vol. 14, No. 1 (Feb., 1986), pp. 50-63
Malloch, William. “Bach and the French Ouverture,” The Musical Quarterly, Summer, 1991, Vol. 75, No. 2 (Summer, 1991), pp. 174- 197
Niecks, Frederick. “Historical Sketch of the Overture,” Sammelbände der. Internationalen Musikgesellschaft , 1906, 7. Jahrg., H. 3. (1906), pp. 386-390
Neumann, Frederick. “Once More: The 'French Overture Style',”Early Music, Jan., 1979, Vol. 7, No. 1 (Jan., 1979), pp. 39-43+45
O'Donnel, John. “The French Style and the Overtures of Bach,”Early Music, Apr., 1979, Vol. 7, No. 2 (Apr., 1979), pp. 190-196
Paul, Leslie D. “Bach as Transcriber,”Music & Letters, Oct., 1953, Vol. 34, No.(Oct., 1953), pp. 306-313
張以利。〈以十八世紀中葉小提琴教學法探討羅卡泰里《小提琴的藝術，作品三》之演奏詮釋〉（國立臺灣師範大學博士班表演藝術組學位論文，2014）
Kaminska, Iwona. “J. S. Bach: The Ouverture in B Minor, BWV 831: A Discussion of Its Origin and Style; Performance Practice Issues and Their Application to the Modern Piano” (Doctor of Musical Arts diss., The University of British Columbia, 2002)
Thomas, Orlan E. “Music for Double-Reed Ensembles from the Seventeenth and Eighteenth Century: ‘Collection Philidor’”( Degree of Doctor of Musical Arts in Performance and Pedagogy (Oboe) Thesis, Eastman School of Music of the University of Rochester, May, 1973)
Bach, Johann Sebastian. Ouverture nach Französischer Art, BWV 831, Bach-Gesellschaft Ausgabe, Band 3, Leipzig: Breitkopf und Härtel, 1853. Plate B.W. III.
Bach, Johann Sebastian. Ouverture nach Französischer Art, BWV 831, Moscow: Muzyka, n.d.(ca.1990). Plate 15165.
Bach, Johann Sebastian. Italienisches Konzert, BWV 971, Bach-Gesellschaft Ausgabe, Band 3 (pp.139-153), Leipzig: Breitkopf und Härtel, 1853. Plate B.W. III.
Bach, Johann Sebastian. Italienisches Konzert, BWV 971,Kassel: Bärenreiter-Verlag, 1977. Plate BA 5194.
Bach, Johann Sebastian. French Suite No.2 in C minor, BWV 813, Neue Bach-Ausgabe, Serie V. Klavier- und Lautenwerke, Band 8. Die 6 Französischen Suiten / 2 Suiten a-Moll u. Es-Dur (pp.10-19, 72-81), Kassel: Bärenreiter Verlag, 1980. Plate BA 5166/DVfM 8074.
Bach, Johann Sebastian. French Suite No.5 in G major, BWV 816, Neue Bach-Ausgabe, Serie V, Band 8 (pp.40-51, 102-13), Kassel: Bärenreiter Verlag, 1980. Plate BA 5166/DVfM 8074.
Bach, Johann Sebastian. Orchestral Suite No.2 in B minor, BWV 1067, Neue Bach-Ausgabe, Serie VII, Band 1 (pp.25-46) Kassel: Bärenreiter Verlag, 1967. Plate BA 5030.
Bach, Johann Sebastian. Organ Concerto in A minor, BWV 593, Bach-Gesellschaft. Ausgabe, Band 38 (pp.158-70) Leipzig: Breitkopf und Härtel, 1891. Plate B.W. XXXVIII.
Vivaldi, Antonio. Violin Concerto in E major, RV 265, Kompy.
Vivaldi, Antonio. Concerto for 2 Violins in A minor, RV 522, Matthieu, 2007.