巴哈（Johann Sebastian Bach）之義大利協奏曲（Italian Concerto, BWV 971）創作於1734年，收錄於1735年出版之鍵盤曲集第二冊（Clavier-Übung II）中。此首巴哈指定由雙層大鍵琴演奏之曲目，雖名為協奏曲，卻實為三樂章的鍵盤樂器獨奏曲目。為何獨奏曲被訂名為協奏曲？又為何被命名為義大利協奏曲？是否與義大利有何淵源？以及巴洛克時期在義大利盛行之協奏曲曲式對巴哈是否造成任何影響？本文藉由巴哈義大利協奏曲BWV 971 追本溯緣追尋巴洛克時期義大利協奏曲之發展如何開啟巴哈對義大利音樂熟悉之門，繼而影響其對於鍵盤樂器之創作，並提升鍵盤樂器地位，使其逐漸脫離數字低音的形式而成為獨奏樂器。

Bach’s Italian Concerto, BWV 971 was composed in 1734, and then published along with Clavier-Übung II in 1735. Although composed as a concerto, the Bach three-mouvement keyboard concerto is designated as a harpsichord solo piece. Why was a solo music designated as a concerto? And why was it entitled as an Italian concerto? Did this have any background relationship with Italy? And did Italy’s popular concerto form during the Baroque period have any influence on Bach? This thesis is based on a study of Bach’s Italian Concerto, BWV 971 in exploration on how Italy’s concerto style development helped open the doors to Italian music for Bach, and influenced his creativity in harpsichord music; and furthermore, upgrading harpsichord’s prestige in music history and allowing it to gradually extend itself from basso continuo into a solo instrument.