身為現代音樂家，多數人習慣樂譜上有作曲家清楚標示的速度、 表情、力度記號或是裝飾音等可供依循。然而在詮釋早期音樂方面，由於文獻較不齊全、有些手稿殘缺遺失，再加上當時的音樂文化注重口傳勝於記譜、即興與借用又是司空見慣的事，因此對現代演奏者而言，要忠實的還原巴洛克時期的演奏風貌，需要對當時的音樂風格有一定程度的認識。藉由當時演奏的記錄、評論，或是同時期作曲家之著作來提供我們更多的演奏資訊。 本文嘗試藉由分析巴赫同時期作曲家鄺茲的著作與當代巴赫研 究者之相關文獻並參考其子艾曼紐巴赫的著作來探究巴洛克時期長笛音樂幾個常見的演奏問題，如速度、力度、呼吸、即興風格、裝飾音、運舌等，並探索現代長笛家在演奏巴洛克音樂時，應當如何真實的還原當時的演奏風貌。本文並根據這些討論，對巴赫《E 小調長笛奏鳴曲BWV1034》在速度、運舌與裝飾音三方面提出幾點演奏建議。

It has always been a problem for modern performers to interpret Baroque music since no clear tempo marking, articulation or ornamentation has been written out on the score. Little has been known about what an authentic performance would have been like at the time the work was first performed. Owing to the scarcity of the available information in this regard, seeking historical authenticity in the interpretation of early music remains a challenging task. It is essential to refer to the primary sources, such as the publications or the comments made by the contemporaries of the composer. The purpose of this study was to discuss the performance practice issues of Baroque music through an analysis of historical documents and literature as well as publications by Johann Joachim Quantz and Carl Philipp Emanuel Bach. Based on these discussions, several performance guides concerning the tempo, articulation and ornamentation were provided for the E minor flute sonata, BWV 1034 by Johann Sebastian Bach.