約翰．瑟巴斯倩．巴赫（Johann Sebastian Bach, 1685-1750）對於上帝的虔敬是無庸質疑的，他的許多作品——不論有沒有宗教性的標題——都是出於他深刻的宗教經驗並且為了讚揚上帝而做。本文企圖透過對於他的作品的解讀，建立起一種獨特的音樂神學。此處所使用的「神學」（theology）一詞乃是回到其原初構詞「theos-logos」，亦即「（談論）神的話語」的意義上。巴赫的「音樂神學」不立文字，而是一種以音樂來談論與展現上帝的方式。巴赫以音樂的特殊結構，來表現他對於上帝的神聖臨在的虔誠呼喊；反之，上帝也透過此音樂來達到祂的絕對示現，並且以一種特出的方式與眾人同在。本文並將從《無伴奏大提琴組曲第三號》（BWV 1009）〈前奏曲〉的分析來闡明這種音樂神學。

Johann Sebastian Bach (1685-1750) is undoubtedly a pious Christian. Many of his works, no matter with or without religious title, come from his deep experience of religion. This article aims to construct a musical theology of Bach through the analysis of his works. The term “theology” here means “the speech of (on) God” from its etymological origin of “theos-logos.” Bach's theology of music is a special speech on God, which is without words but with music. On the one hand, Bach calls God with the extraordinary structure of music; on the other hand, God presents in the music and is therefore with the audience. This article tries to show this theology of music with the analysis of the Prelude of the Suites for Cello Solo, No. 3 (BWV 1009).