巴洛克時期興起的獨奏協奏曲，獨奏樂器多為小提琴、長笛、雙簧管等，在器樂曲中擔負主要旋律的樂器。而擔任數字低音的大鍵琴，從來不在獨奏樂器的考慮之列。直到約翰‧瑟巴斯倩‧巴赫，及其音樂家兒子們－威廉‧弗里得曼‧巴赫、卡爾‧菲利普‧艾曼紐‧巴赫、 約翰‧克利斯丁‧巴赫的努力，大鍵琴才從數字低音的地位，擢升成為獨奏協奏曲中的主要角色。
巴赫的音樂家兒子中，鍵盤協奏曲作品數量最多的，就是被譽為十八世紀最重要音樂家之一的艾曼紐。這位介於巴洛克及古典時期之間的過渡作曲家，大家討論較多的，是他的交響曲及鍵盤奏鳴曲，鮮少人知道艾曼紐也有寫作鍵盤協奏曲這個曲種。
這篇論文，想要探究艾曼紐這些少被大家討論的鍵盤協奏曲，了解鍵盤協奏曲的發展歷程和創作情形，每首協奏曲ritornello form的運用，ritornello和獨奏之間的關係。在他創作的52首鍵盤協奏曲和12首Sonatina中，艾曼紐在曲式架構的設計，是本論文想要探討的核心。

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