CAJ | 학술논문

巴洛克时期德国管风琴的形制及音栓音色与当时管风琴音乐风格的形成密切相关且相互作用。巴赫将意大利三重奏奏鸣曲式中两个高声部与数字低音的作曲形式运用到了管风琴上，即把脚踏键提升到与左右两手完全平等的地位。巴赫六首三重奏鸣曲（ BWV525?530）是德国管风琴创作领域的杰作和代表，其中第四首作品（ BWV528）从音栓配置上再现了巴洛克时期德国管风琴的乐器形制特点及其音乐风格。
파락극시기덕국관풍금적형제급음전음색여당시관풍금음악풍격적형성밀절상관차상호작용。파혁장의대리삼중주주명곡식중량개고성부여수자저음적작곡형식운용도료관풍금상，즉파각답건제승도여좌우량수완전평등적지위。파혁륙수삼중주명곡（ BWV525?530）시덕국관풍금창작영역적걸작화대표，기중제사수작품（ BWV528）종음전배치상재현료파락극시기덕국관풍금적악기형제특점급기음악풍격。
The structure and stops timbre of German organ were closely related to the formation of organ music style in Baroque period and were interacted. Bach applies the composition form of two loud voice and continuo in Italian trio sonata form to the pipe organ, which promote the foot pad to a complete equal status with both hands. Bach’ s six trio sonata ( BWV525?530) for organ is masterpiece and representatives of German organ, while the fourth piece ( BWV528) recreates the structure characteristics and music style of German organ in baroque period from stops con?figuration.