"Christian piano art music" is a small genre, each piece of which belongs seemingly to either Christian music or art music, but by definition to both of them. In spite of its merits this genre has been ignored both by the concert hall because of its religiosity and by the church because of its artistry. However, since God is the One who has infinite creativity and is pleased with our various musical praises, both congregational praise and artistic musical praise has to be dedicated to Him. In chapters 2-5, after the history of music--Christian music, art music, and Christian art music--is examined from a biblical perspective of human history (Creation-the Fall-Redemption-Consummation), the significance of Christian art music is discussed, especially in light of God's common grace and special grace. After discussing the merits of instrumental praise, in chapters 6-9, the selected repertoire of Christian piano art music is introduced, being categorized into four groups--works using hymn or chorale tunes, works related to the Bible, works expressing Christian faith symbolically, and abstract piano works dedicated to God. Finally, the calling as "Christian culture makers" is discussed.

During his lifetime, Johann Christian Bach (1739--1782) was considered the most famous musician of the Bach family throughout England and Europe. Although his music was highly regarded in the eighteenth century, little scholarly work has been undertaken on the historical and analytical aspects of his compositions. His keyboard compositions are valuable in tracing his musical development since this was the only genre that he wrote throughout his career in Berlin, Milan and London. Previous analyses of Bach's keyboard music have mainly focused on stylistic development, thus neglecting the importance of phrase and larger formal functions. / I adopt William Caplin's theory of formal functions to analyze Bach's solo keyboard sonatas: the Solo in A minor from Berlin (1750--55), three sonatas from the Milan collection (1755), six sonatas from London Op. 5 (1767), and six sonatas from London Op. 17 (1773--4). I demonstrate that Bach gradually refines phrase and thematic functions of the exposition of first-movement sonatas. I examine Bach's use of core technique and subordinate theme-like units in development sections and discuss the reasoning behind different recapitulation strategies. I also compare the sonata forms of the first movement to the second and third movements, and discuss other types of large-scale formal design (theme and variations, minuet and trio, and rondo). / Many sources indicate that Mozart was greatly influenced by Bach, but they remain vague in describing the type and extent of this influence. Building on previous melodic, motivic and stylistic studies, I draw important phrase-structural connections between the music of Bach and Mozart. I discuss the construction of Mozart's early piano pieces (KV 6 through K 284) and demonstrate that he adopts particular phrase-structural and thematic designs similar to pieces from Bach's Op. 5 and 17 collections. Through form functional analysis, I illustrate Bach's development of phrase and thematic structures and provide important phrase-structural evidence of his influence on the music of Mozart.

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