卡爾．菲利普．艾曼紐．巴赫 (Carl Philipp Emanuel Bach, 1714-1768) 為約翰．賽巴斯提安．巴赫 (Johann Sebastian Bach, 1685-1750) 的第二位兒子，他一生創作無數樂曲，如鍵盤樂曲、交響樂曲、器樂曲以及協奏曲等，這些作品深深的影響古典樂派的作曲家們，如海頓與莫札特。卡爾．菲利普．艾曼紐．巴赫總共創作六首長笛協奏曲，《D小調長笛協奏曲》(flute concerto in d minor Wq.22) 是六首協奏曲之中最常被演奏的一首，在現今許多指標性的國際長笛大賽中為指定曲目之一，樂曲將長笛的特性展現的淋漓盡致。筆者在第一次聆聽此曲時，隨即被樂曲中優雅且感性的音樂所吸引，希望透過研究與分析此曲，瞭解正確的樂曲風格該如何詮釋。
本文分為五個章節：第一章為緒論，討論研究動機與目標以及研究方法；第二章為作曲家背景與音樂風格，介紹作曲家的生平與其人生中主要三個階段，並在此章節的第二節與第三節討論其音樂創作風格與裝飾音的演奏法；第三章為樂曲創作背景，敘述樂曲當時創作的時空背景；第四章為樂曲分析與詮釋，分別詳述三個樂章之分析與詮釋；第五章為結語，闡述詮釋報告心得，總結本文。

Carl Philipp Emanuel Bach (1714–1768), the second son of Johann Sebastian Bach (1685–1750), composed numerous works throughout his life, including keyboard music, symphonies, instrumental music, and concertos. His compositions deeply influenced Classical period composers such as Haydn and Mozart. Carl Philipp Emanuel Bach composed a total of six flute concertos, with the *Flute Concerto in D minor* (Wq. 22) being the most frequently performed of the six. It is also one of the prescribed pieces in many prominent international flute competitions today, showcasing the unique characteristics of the flute in an exceptional way. Upon hearing this piece for the first time, the author was immediately drawn to its elegant and emotional music and decided to explore and analyze it to better understand the correct interpretative style for this work.

This paper is divided into five chapters: Chapter 1 is the introduction, discussing the research motivation, objectives, and methods; Chapter 2 focuses on the background and musical style of the composer, introducing his life and the three major stages in his career. Sections 2 and 3 of this chapter discuss his compositional style and performance techniques for ornamentation; Chapter 3 covers the background of the concerto, outlining the historical and contextual factors surrounding its creation; Chapter 4 provides an analysis and interpretation of the work, detailing the analysis and interpretation of each of the three movements; and Chapter 5 is the conclusion, reflecting on the insights gained from the interpretation report and summarizing the paper.

李美儀。《卡爾‧菲利普‧艾曼紐‧巴赫 G大調長笛協奏曲之作品研究與詮釋探討作品69》。國立台南藝術大學音樂表演與創作研究所，2010。
張永佳。匡茲《長笛奏法》：內容概要與應用實例。國立臺北藝術大學音樂學系在職專班，2017。
Daniel Heartz, Music in European Capitals, The Galant Style, 1720-1780, W.W. Norton&Company, Inc, 2003.
Hans-Günter Ottenberg, C.P.E. Bach. Oxford New York, 1987.
William John Mitchell, ed. C. P. E. Bach, Versuch über die wahre Art das Clavier zu Spielen (Essay on the True Art of Keyboard Instruments), W.W. Norton, 1949.
Emily C. Bicknese, “Exploration of Empfidsamer Stil” : The Creation and Performance of an informed performance edition of CPE Bach’s Concerto in D minor for flute and Orchestra (2016). Honors Program Theses.
Linn VanMerter-Drew, “The Musical Sturm und Drang” (1984). WMU Maste’s Theses.
https://scholarworks.wmich.edu/cgi/viewcontent.cgi?article=2560&context=masters_theses
David Schulenberg, Performing CPE Bach :“Some questions answered ? ” Vol. 41, No. 1, 40th Anniversary Issue (February 2013).
C. P. E. Bach. Concerto in D minor Wq.22, G. Helen Verlag, 2014.
C. P. E. Bach. Concerto in D minor Wq.22, Doctus Exemplo.
https://masteringtheflute.com/en/flute-repertoire/bach-carl-philipp-emanuel/concerto-in-d-minor-for-flute-and-keyboard-wq-22-h-426-2/
https://www.brilliantclassics.com/media/521313/94640-CPE-Bach-Edition-Liner-Notes-Sung-Texts-Download.pdf
Emmanuel Pahud (Flute ), Kammerakademie Potsdam (Orchestra). C. P. E. Bach: Flute Concerto in D minor Wq.22. Warner Classics. 2016. CD.
Rune Most (Flute), David Riddell (Conductor), Randers Chamber Orchestra. C. P. E. Bach: Flute Concertos, Wq.22 166&169. Bridge. 2022