Bach Bibliography Search Result

Author : Butler, Gregory G.
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Type	List	Title [further info]	Series	Vol	No	Year	Pages	Status
		[]
	1.	Bach's Clavier-Übung III: The making of a print. With a companion study of the Canonic Variations on 'Vom Himmel hoch', BWV 769.				1990	139p
	2.	Bachs Musicalisches Opfer. Neue Entdeckungen am Originaldruck.	[p]WK_Leipzig			Jan 2000
	3.	Bach's Preluding for a Leipzig Academic Ceremony.	[fs]Leaver65			2007	51-67
	4.	Bach the Cobbler: The Origins of J. S. Bach's E-Major Concerto (BWV 1053).	BachPerspectives	7		2008	1-20
	5.	Borrowings in J. S. Bach's Klavierübung III.	CanadianUnivMReview	4		1983	204-217
	6.	Borrowings in J. S. Bach's Klavierübung III.	[p]AMS_PacificNorthwest			Apr 1981
	7.	Der vollkommene Capellmeister as a stimulus to J. S. Bach's late fugal writing.	[ce]NewMatthesonStudies			1983	293-305
	8.	Der äesthetische und pädagogische Kontext des Italienischen Konzerts.	[p]BS_Dortmund			Jan-Feb 2002
	9.	Eine neue Interpretation der Druckgeschichte des Musikalischen Opfers.	LeipzigerBeitrBachF	5		2002	309-320
	10.	Fasch and the canonic trio sonata.	FaschSt	6		1997	249-262
	11.	Fugue and Rhetoric.	JMTheory	21	1	Spring 1977	49-109
	12.	Johann Gotthilf Ziegler: Der Notenstecher der Partiten III bis VI von Johann Sebastian Bach?	[cr]Leipzig1985			1988	277-281
	13.	Johann Gottlob Immanuel Breitkopf: The Formative Years.	BachPerspectives	2		1996	159-168
	14.	Johann Sebastian Bachs Gloria in excelsis Deo BWV 191: Musik für ein Leipziger Dankfest.	BachJb	78		1992	65-71
	15.	Johann Sebastian Bach und Johann Gottlieb Graun.	[fs]Schulze65			1999	186-193
	16.	J. S. Bach and the Concord-Discord Paradox.	JMcol	9	3	Summer 1991	343-357
	17.	J. S. Bach and the Schemelli Gesangbuch Revisited.	StudiMusicali	13	2	1984	241-257
	18.	J. S. Bach and the Schemelli Gesangbuch Revisited.	[p]AMS_PacificNorthwest			Nov 1979
	19.	J. S. Bach's Concerted Ensemble Music, The Concerto.	BachPerspectives	7		2008	xi, 121p
	20.	J. S. Bach's Concerted Ensemble Music, The Ouverture.	BachPerspectives	6		2007	xi, 163p
	21.	J. S. Bach's Einige Canonische Veraenderungen: The View from the Original Print.	Bach	20	2	Summer 1989	4-37
	22.	J. S. Bach's Gloria in Excelsis Deo (BWV 191): Music for a Leipzig Dankfest.	[p]AMS_PacificNorthwest			Mar-Apr 1990
	23.	J. S. Bach's 'Hudemann' Canon, BWV 1074: A Note on the Engraving and Printing History.	Bach	25	1	Spring-Summer 1994	5-10
	24.	J. S. Bachs Kanonische Veränderungen über 'Vom Himmel hoch' (BWV 769). Ein Schlußstrich unter die Debatte um die Frage der 'Fassung letzter Hand'.	BachJb	86		2000	9-34
	25.	J. S. Bach's Klavierübung III: Aspects of its Evolution as Revealed in the Original Print.	[p]AMS_PacificNorthwest			May 1984
	26.	J. S. Bach's reception of Tomaso Albinoni's mature concertos.	BachStud	2		1995	20-46
	27.	Konrad Friedrich Hurlebusch and His Influence on J. S. Bach.	[p]AMS_PacificNorthwest			Nov 1977
	28.	Leipziger Stecher in Bachs Origianldrucken.	BachJb	66		1980	9-26
	29.	Mattheson's Der vollkommene Capellmeister and J. S. Bach's Late Fugal Writing.	[p]AMS_Boston			Nov 1981
	30.	Music and Rhetoric in early 17th century English sources.	MQ	66	1	Jan 1980	53-64
	31.	Neues zur Datierung der Goldberg-Variationen.	BachJb	74		1988	219-223
	32.	New Research on J. S. Bach's Dritter Teil der Klavierübung (1739).	[p]AMS_Minneapolis			Oct 1978
	33.	Ordering Problems in J. S. Bach's Art of Fugue Resolved.	MQ	69	1	Winter 1983	44-61
	34.	Ordering Problems in J. S. Bach's Art of the Fugue Resolved.	[p]AMS_Biltmore			Nov 1979
	35.	Scribes, Engravers, and Notational Styles: The Final Disposition of Bach's Art of Fugue.	[ce]AboutBach			2008	111-123
	36.	The Canonic Sequence in Theory and Practice: A musical-rhetorical study of its origins, and development in keyboard music to 1750.	diss.			1973
	37.	The Choir Loft as Chamber: Concerted Movements by Bach from the Mid- to Late 1720s.	Bachperspectives	10		2016	76-86
	38.	The Engravers of Bach's Clavier-Übung II.	[fs]Scheide			1993	57-69
	39.	The Engraving and Printing of J. S. Bach's Six Partitas.	[p]AMS_Vancouver			Nov 1985
	40.	The engraving of J. S. Bach's six partitas.	JMcolResearch	7	1	1986	3-27
	41.	The Fantasia as Musical Image.	MQ	60	4	Oct 1974	602-615
	42.	The Galant Style in Bach's Musical Offering: Widening the Dimensions	[p]BS_Dortmund			Jan 1998
	43.	The Galant Style in J. S. Bach's Musical Offering: Widening the Dimensions.	Bach	33	1	2002	57-68
	44.	The origins of J.S. Bach's 'Wie jammern mich doch die verkehrten Herzen,' BWV 170/3.	[fs]Williams70			2007	227-236
	45.	The Prelude to J. S. Bach's Third English Suite BWV 808/1: An Allegro Concerto Movement in Ritornello Form.	[p]BCB_Dublin			Jul 2000
	46.	The prelude to the third English Suite BWV 808: an allegro concerto movement in ritornello form.	IrishMStud	8		2004	93-101
	47.	The Printing History of J. S. Bach's Musical Offering: New Interpretations.	JMcol	19	2	Spring 2002	306-331
	48.	The projection of affect in Baroque dance music.	EarlyM	12	2	May 1984	200-207
	49.	The Proof Copies of J. S. Bach's Klavierübung III.	[p]AMS_Louisville			Oct 1983
	50.	The Question of Genre in J. S. Bach's Fourth Brandenburg Concerto.	BachPerspectives	4		1999	9-32
	51.	Toward a More Precise Chronology for Bach's Concerto for Three Violins and Strings BWV 1064a: The Case for Formal Analysis.	DortmundBachF	1		1997	235-247
	52.	Toward an Aesthetic and Pedagogical Context for J. S. Bach's Italian Concerto BWV 971.	DortmundBachF	6		2003	223-230
	53.	Using Chronological Markers to Establish Connexes of Bach's Concerto Movements.	[p]AMS_PacificNorthwest			Apr 1999
	54.	About Bach.	[ce]AboutBach			2008	xi, 216p