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Bach Bibliography Search Result |
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| Type | List | Author | Title [further info  ] | Series | Vol | No | Year | Pages | Status |
|---|---|---|---|---|---|---|---|---|---|
 | 1. | ab. | Albert Schweitzer als Musiker. | NZürcherZ | 1p | ||||
 | 2. | Abadie, Daniel; Georget, Maryvonne | Hartung et la musique. | 72p | |||||
| | 3. | Abbing, Jörg | ... es blüht hinter uns her: Festschrift für Almut Rößler. | [fs]Rößler | 211p | ||||
 | 4. | Abdullina, Galina Vadimovna | Desâtye Bahovskie èteniâ v Sankt-Peterburge. | Musicus(Russia) | 4:13 | 66-67 | |||
| | 5. | Abdullin, Rubin Kabiroviè (ed.) | Iz pedagogièeskogo opyta Kazanskoj konservatorii: Prošloe i nastojašèee. | [ce]KazanConservatory | 376p | ||||
| | 6. | Abdy Williams, Charles Francis | Bach. | xi, 223p | |||||
| | 7. | Abdy Williams, Charles Francis | Reminiscences of a Pilgrimage through the Bach Country. | Musician | 17 | 9 | 590-591 | ||
| | 8. | Abdy Williams, Charles Francis | The Rhythmical Construction of Bach's 'Forty-Eight' Fugues. | ProceedRMA | 19 | 73-93 | |||
| | 9. | Abeele, H. V. | Johann Sebastian Bach gezinshoofd & kind van zijn tijd. | Adem | 38 | 4 | 178-182 | ||
| | 10. | Abe, Hiromitsu | Johann Sebastian Bach no Furuto sakuhin no Seiritsu to Shingan Mondai: J. S. Bach Botsugo 250-Nen o Kinen shite. | NenpoIwamizawa | 22 | 65-79 | |||
| | 11. | Abe, Kin'ya | Bach no Miryoku no Himitsu. | BachZenshu | 15 | 150-156 | |||
 | 12. | Abel, Ludwig (arr.) | Sinfoniesatz aus einer unbekannten Kirchen-Cantate für concertirende Violine mit Begleitung von 3 Trompeten, Pauken, 2 Oboen, 2 Violinen, Viola und Continuo von JOH. SEB. BACH. | 11p + St | |||||
| | 13. | Abelló, Jordi | Bach, ¿ el último polifonista ?. | Ritmo | 724 | 76-77 | |||
 | 14. | Abels, Birgit | ... con Cembalo e l'Organo ...: Das Cembalo als Generalbaßinstrument. Ein Bericht vom Symposium im Rahmen der 29. Tage Alter Musik in Herne 2004. | Tonkunst | 2 | ||||
| | 15. | Abels, Birgit (ed.) | Vom rechten Thon der Orgeln und anderer Instrumenten: Festschrift Christian Ahrens zum 60. Geburtstag. | KöstritzSchr | 2 | 358p | |||
| | 16. | Abend, Barbara | Das Herz kann nicht vergessen. Die fiktive Biografie der Anna Magdalena Bach. | 112p | |||||
| | 17. | Abendroth, Hermann | Höchste Vollendung. | [ce]JSBSchaffenMSpiegelStadt | 82 | ||||
| | 18. | Aber, Adolf | A Bach Festival with Discussions. | MTimes | 99 | 1386 | 448-449 | ||
| | 19. | Aber, Adolf | Achtes deutsches Bachfest [19.-21. Juni in Leipzig]. | ZsfM | 87 | 13 | 202-203 | ||
| | 20. | Aber, Adolf | Bachs 'Kunst der Fuge': eine Leipziger Uraufführung nach 177 Jahren. | DieMusik | 19 | 11 | 803-804 | ||
| | 21. | Aber, Adolf | Handbuch der Musikliteratur in systematisch-chronologischer Anordnung. | KleineHandbMgesGattungen | 13 | xx, 695p | |||
| | 22. | Aber, Adolf | Jubiläums-Bach-Fest in Leipzig. | Anbruch | 5 | 6-7 | 202f | ||
| | 23. | Aber, Adolf | Karl Straube: zum 60. Geburtstage des Leipziger Thomaskantors. | LeipzigerNNachrichten | 1p | ||||
| | 24. | Aber, Adolf | Leipzig. Das 'Reichs-Bach-Fest'. | SchweizerischeMzSängerBl | 75 | 14-15 | 523-525 | ||
| | 25. | Aber, Adolf | On the Continuo in Bach. | MTimes | 89 | 1264 | 169-171 | ||
| | 26. | Aber, Adolf | Studien zu J. S. Bachs Klavierkonzerten: XVII. Jahrgang der Gesamtausgabe. Nach dem Autograph. | BachJb | 10 | 5-30 | |||
| | 27. | Aber, Adolf | The Bach Festival at Leipsic. | MTimes | 76 | 1110 | 748-749 | ||
| | 28. | Aber, Adolf | The Basso Continuo (as continued in The Times). | MTimes | 89 | 1270 | 367-368 | ||
| | 29. | Aber, Adolf | VII. Deutsches Bachfest in Wien vom 9. bis 11. Mai 1914. | AllgMz | 41 | 21, 22 | 790-791, 871-872 | ||
| | 30. | Aber, Adolf | Was weisst du von Bach? | 23p | |||||
| | 31. | Abert, Anna Amalie | Dank an Friedrich Blume. | Mf | 29 | 1 | 1-4 | ||
| | 32. | Abert, Anna Amalie; Pfannkuch, Wilhelm (eds.) | Festschrift Friedrich Blume zum 70. Geburtstag. | [fs]Blume70 | 426p | ||||
| | 33. | Abert, Hermann | Bach, Beethoven, Brahms. | MQ | 13 | 2 | 329-343 | ||
| | 34. | Abert, Hermann | Bachs Matthäus-Passion. | [ce]Abert | 143-155 | ||||
| | 35. | Abert, Hermann | Bach to Wareware. | BachSosho | 1 | 7-35 | |||
| | 36. | Abert, Hermann | Bach und die moderne Liturgie. | [gs]Scheurleer | 33-38 | ||||
| | 37. | Abert, Hermann | Bach und wir. | [ce]Abert | 120-142 | ||||
| | 38. | Abert, Hermann | Johann Sebastian Bach. Bausteine zu einer Biographie. | BachNachBach | 1 | 187p | |||
| | 39. | Abert, Hermann | Joh. Christian Bachs italienische Opern und ihr Einfluß auf Mozart. | ZsfMw | 1 | 6 | 313-328 | ||
| | 40. | Abert, Hermann | Tonart und Thema in Bachs Instrumentalfugen. | [fs]Wagner60 | 1-10 | ||||
| | 41. | Abert, Hermann | Wort und Ton in der Musik des 18. Jahrhunderts. | [ce]Abert | 173-231 | ||||
| | 42. | Abert, Hermann | Wort und Ton in der Musik des 18. Jahrhunderts. | AfMw | 5 | 1 | 31-70 | ||
| | 43. | Abert, Johann Joseph (arr) | Andante sostenuto (Praeludium H moll) und Scherzo allegretto (Fuga G) / Joh. Seb. Bach. | 18p + 36 St | |||||
| | 44. | Abert, Johann Joseph (arr.) | Präludium und Fuge von Joh. Seb. Bach und Choral von Abert | 55p | |||||
| | 45. | Abert, W. (arr.) | Präludium von J. S. Bach aus dem wohltemperierten Klavier. | 2p | |||||
| | 46. | Abraham, Gerald | Anthology of Music: The Fugue (II. Handel to the 20th Century) by Josef Müller-Blattau. Arno Volk/Oxford. | MTimes | 111 | 1525 | 304 | ||
| | 47. | Abraham, Lars Ulrich | Der Generalbaß im Schaffen des Michael Praetorius und seine harmonischen Voraussetzungen. | BerlinerStMw | 3 | 182p | |||
| | 48. | Abraham, Lars Ulrich (ed.) | Erich Doflein. Festschrift zum 70. Geburtstag (7.8.70). | [fs]Doflein70 | 131p | ||||
| | 49. | Abraham, Lars Ulrich | Mendelssohns Chorlieder und ihre musikgeschichtliche Stellung. | StMges19Jh | 41 | 79-87 | |||
 | 50. | Abramowitz, Jonathan | A Performance Edition of the 'Drei Sonaten für Clavier und Viola da Gamba' of J. S. Bach. | diss. | |||||
| | 51. | Abravanel, Claude | A Checklist of Music Manuscripts in Facsimile Edition. | Notes | 34 | 3 | 557-570 | ||
| | 52. | Abravaya, Ido | A French overture revisited: another look at the two versions of BWV 831. | EarlyM | 25 | 1 | 47-58, 60-61 | ||
 | 53. | Abravaya, Ido | Bach's tempo practices: tempo changes. | [p]BICB_Manchester | |||||
| | 54. | Abravaya, Ido | Bach's tempo practices, the tempo theories of his time -- and ours. | OrbisMusicae | 13 | 81-90 | |||
| | 55. | Abravaya, Ido | J.S. Bach's wedding quodlibet, BWV 524. | MinAd | 13 | 51-61 | |||
| | 56. | Abravaya, Ido | On Bach's Rhythm and Tempo. | BochumArbMw | 4 | 232p | |||
| | 57. | Abravaya, Ido | Studies of Rhythm and Tempo in the Music of J. S. Bach. | diss. | xv, 318p | ||||
| | 58. | Abravaya, Ido | The Baroque upbeat: outline of its typology and evolution. | IrishMStud | 8 | 17-28 | |||
| | 59. | Abret, Helga | Das tiefe Rätsel dieses rätselhaftesten Genies [...]: Hermann Hesse über Mozart in Rezensionen und Briefen. | [cr]Breslau2006 | 171-193 | ||||
| | 60. | Abrányi Kornél | Tárca. Egy khorál hatalma. | ZeneszetiLapok | 8 | 32 | 507-509 | ||
| | 61. | Abrányi Kornél | Tárca. Egy khorál hatalma (Folytatás). | ZeneszetiLapok | 8 | 33 | 523-525 | ||
| | 62. | Abrányi Kornél | Tárca. Egy khorál hatalma (Vége). | ZeneszetiLapok | 8 | 34 | 537-540 | ||
| | 63. | Abshagen, Dr. | 'Die Kunst der Fuge' in London | DieMusik | 27 | 7 | 550-551 | ||
| | 64. | Abyzova, Elena Nikolaevna | Nekotorye voprosy tematizma i formy skripichnyh koncertov I. S. Baha. | VoprosyTM | 3 | 237-271 | |||
| | 65. | Aer. [Schulz, Johann Abraham Peter] | Johann Sebastian Bachs vierstimmige Choralgesänge. Erster Theil. Leipzig bey Breitkopf. 1784. gr. 4. 54 Seiten. | AllgDBib | 64 | 2 | 458-459 | ||
| | 66. | Baba, Jiro | Ongaku Yawa. | 226p | |||||
| | 67. | Baba, Takeshi | Atarashii Bach Kenkyu to Erdmann Shokan. | Philharmony | 39 | 11 | 18-24 | ||
| | 68. | Baba, Takeshi | Bach Enso ni okeru Tokushitsu. | RekodoGeijutsu | 16 | 13 | 248-251 | ||
| | 69. | Babbitt, Milton | My Vienna Triangle at Washington Square Revisited and Dilated. | [ce]DrivenIntoParadise | 33-53 | ||||
| | 70. | Baber, Donald S. | Bach Organ Study Tour: Grand Rapids, Michigan, July 18-August 3. | AmerOrganist(2) | 19 | 12 | 76-77 | ||
| | 71. | Babin, Victor (arr.) | FIFTH SONATA in C major / J. S. BACH | 39, 39p | |||||
| | 72. | Babin, Victor (arr.) | FIRST SONATA in Eb major / J. S. BACH | 15, 15p | |||||
| | 73. | Babin, Victor (arr.) | FOURTH SONATA in E minor / J. S. BACH | 24, 24p | |||||
| | 74. | Babin, Victor (arr.) | SECOND SONATA in C minor / J. S. BACH | 24, 24p | |||||
| | 75. | Babin, Victor (arr.) | SIXTH SONATA in G major / J. S. BACH | 32, 32p | |||||
| | 76. | Babin, Victor (arr.) | THIRD SONATA in D minor / J. S. BACH | 28, 28p | |||||
| | 77. | Babitz, Sol | Additions & corrections to all bulletins: polemics | EarlyMLabBul | 12 | 26p | |||
| | 78. | Babitz, Sol | 'Anmerkung, welche die Zeit, wie lange jede Note gehalten werden muß, betrifft'. | Musica | 23 | 1 | 8-14 | ||
| | 79. | Babitz, Sol | A problem of Rhythm in Baroque music. | MQ | 38 | 4 | 533-565 | ||
| | 80. | Babitz, Sol | Commentary on EML tape-recording 2 illustrating Bulletins 1-6. | EarlyMLabBul | 8 | 39p | |||
| | 81. | Babitz, Sol | Concerning the length of time that every note must be held. | EarlyMLabBul | 4 | 37p | |||
| | 82. | Babitz, Sol | 'Concerning the Length of Time that Every Note Must be Held.' | MReview | 28 | 1 | 21-37 | ||
| | 83. | Babitz, Sol | Das Violinspiel im 18. Jahrhundert und heute. | [cr]Kassel1962 | 313-315 | ||||
| | 84. | Babitz, Sol | Differences between 18th century and modern violin bowing. | Score | 19 | 34-55 | |||
| | 85. | Babitz, Sol | Differences between 18th century and modern violin bowing: with corrections and additions from the 1970 edition, and additional material as of 1974, with an appendix on the reconstruction of the baroque, Reinaissance & transition violins. | EarlyMLabBul | 2a | iv, 26p | |||
 | 86. | Babitz, Sol (ed.) | Facsimile reprint of the first edition (Simrock - Bonn - 1805) of The Six Solos for Violin without Bass Accompaniment by Johann Sebastian Bach. | EarlyMLabBul | 7 | 43p | |||
| | 87. | Babitz, Sol | Note-separation in musical performance, and other matters | EarlyMLabBul | 13 | 24p | |||
| | 88. | Babitz, Sol | Notes Inégales: A Communication. | JAMSoc | 20 | 3 | 473-476 | ||
| | 89. | Babitz, Sol | On using early keyboard fingering. | Diapason | 60 | 3:711 | 15-28 | ||
| | 90. | Babitz, Sol | On using early keyboard fingering. | Diapason | 60 | 4:712 | 21-26 | ||
| | 91. | Babitz, Sol | On using early keyboard fingering. | Diapason | 60 | 5:713 | 21-24 | ||
| | 92. | Babitz, Sol | On using early keyboard fingering. | EarlyMLabBul | 3 | 24p | |||
| | 93. | Babitz, Sol | On using J. S. Bach's keyboard fingerings. | MLetters | 43 | 2 | 123-128 | ||
| | 94. | Babitz, Sol | Recent Findings in 18th Century Performance Style. | AmerStringTeacher | 15 | 1 | 10-12, 14-15 | ||
| | 95. | Babitz, Sol | The Great Baroque Hoax: A Guide to Baroque Performance for Musicians and Connoisseurs. | 51p | |||||
| | 96. | Babitz, Sol | The Need for Authentic Performance of Early Music. A reply to Dr. Telmányi. | MTimes | 97 | 1355 | 39 | ||
| | 97. | Babitz, Sol (ed.) | The Six Solos for Violin without Bass Accompaniment by Johann Sebastian Bach. | EarlyMLabBul | 9 | xxviii, 45p | |||
| | 98. | Babitz, Sol | The Vega Bach Bow. A Reply to Dr. Emil Telmányi. | MTimes | 96 | 1347 | 251-253 | ||
| | 99. | Babitz, Sol | To the editor of Bach. | Bach | 3 | 2 | 40-43 | ||
| | 100. | Babitz, Sol | To the Editor of BACH. | Bach | 3 | 3 | 43-44 | ||
| | 101. | Babitz, Sol (trans.) | Treatise on the ornaments of music / Giuseppe Tartini. | EarlyMLabBul | 6 | 40p | |||
| | 102. | Bab, Julius | Die Devrients: Geschichte einer deutschen Theaterfamilie. | vii, 360p | |||||
| | 103. | Balaban, Mira; Ebcioglu, Kemal; Laske, Otto E. (eds.) | Understanding music with AI: Perspectives on music cognition. | [ce]UnderstandingMwithAI | xxxviii, 512p | ||||
| | 104. | Balme, Christopher; Liptay, Fabienne; Drewes, Miriam (eds.) | Die Passion des Künstlers: Kreativität und Krise im Film. | [ce]PassionDesKünstlers | 312p | ||||
| | 105. | Bangert, Daniel; Fabian, Dorottya; Schubert, Emery | Doing without thinking? Aspects of musical decision-making revisited. | [cr]Vienna2013 | 201 | ||||
| | 106. | Bangert, Daniel; Fabian, Dorottya; Schubert, Emery; Yeadon, Daniel | Performing solo Bach: a case study of musical decision-making. | MScientiae | 18 | 1 | 35-52 | ||
| | 107. | Barreiro Carabetta, Diego | La clavecinista Laura Dearmas...y su amor por el instrumento para el que escribió Juan Sebastián Bach. | Sinfonica | 6 | 66 | 24-25 | ||
| | 108. | Bartolus, Abraham | Mvsica Mathematica, Das ist: Das Fundament der allerlieblichsten Kunst der Musicæ, wie nemlich dieselbe in der Natur stecke ... in deutsch gegeben. | ||||||
| | 109. | Bauer, Elisabeth Eleonore | Die Altklassiker und die Macht des Faktischen. Zum Internationalen Musikwissenschaftlichen Kongreß des Jahres '85. | Concerto | 3 | 1 | 10 | ||
| | 110. | Baur, Elizabeth | From Bach to Dillinger: Music in government documents. | GovernmentPubReview | 20 | 5 | 485-493 | ||
| | 111. | Baur, Elizabeth | From J.S. Bach to John Dillinger: Music in American government documents. | [ce]InformationSourcesM | 208-215 | ||||
| | 112. | Bauret, Gabriel | De la lecture de la partition à l'écoute de l'interprétation, essai de description de 'l'Art de fugue' de J.-S. Bach. | diss. | 159p | ||||
| | 113. | Becker, Alexander; Gefaller, Gabriele; Popp, Susanne (eds.) | Musikalische Moderne und Tradition: Internationaler Reger-Kongress, Karlsruhe 1998. | RegerSt | 6 | 412p | |||
| | 114. | Bennwitz, Hanspeter; Buschmeier, Gabriele; Riethmüller, Albrecht (eds.) | Komponistenbriefe des 19. Jahrhunderts: Bericht des Kolloquiums Mainz 1994. | AbhandlungGeistSozWissKlasse(Mainz) | 1997 | 4 | 185p | ||
| | 115. | Bergener, Fabian | Glanzvoller Abschluß in der Leipziger Thomaskirche. | Tonkunst | 1 | ||||
| | 116. | Birnbaum, Johann Abraham | Difesa di Bach [1738]. | [ce]MusicaPoetica | 67-76 | ||||
| | 117. | Birnbaum, Johann Abraham | From Impartial remarks on a dubious passage in the sixth issue of Der critische Musikus (1738). | [ce]MCulture18CEurope | 273-277 | ||||
| | 118. | Birnbaum, Johann Abraham | Seconda difesa di Bach. | [ce]MusicaPoetica | 81-88 | ||||
| | 119. | Birnbaum, Johann Abraham | Unpartheyische Anmerkungen über eine bedenckliche stelle in dem sechsten stück des Critischen Musicus. Gedruckt in diesem Jahre. | 28p | |||||
| | 120. | Birnbaum, Johann Abraham | [Verteidigung Bachs gegen Scheibes Angriffe - Nachträgliche Anmerkungen Scheibes] | ||||||
| | 121. | Birnbaum, Johann Abraham | VI. Unpartheyische Anmerkungen über eine bedenckliche Stelle in dem Sechsten Stück des Critischen Musicus. Gedruckt in diesem Jahr. | MlBib | 1 | 4 | 62-73 [recte: 52-63] | ||
| | 122. | Bogdan, Izabela; Miernikiewicz, Patryk | 'Confessio fidei Bachiana'. Religious Experience of God in the Works of Johann Sebastian Bach. | CompostelaPrize | 2 | 205-215 | |||
 | 123. | Boineburg, Christoph Ernst Abraham von | [Übersending einer Bach-Handschrift] | ||||||
| | 124. | Borchard, Beatrix; Back, Regina; Treydte, Elisabeth; Wenzel, Silke (eds.) | Musik(vermittlung) und Gender(forschung) im Internet: Perspektiven einer anderen Musikgeschichtsschreibung. | StMaterMw | 92 | vi, 256p | |||
| | 125. | Brabcová, Jitka | Komponistengruppen in der Katharina-Epoche vor dem Werdegang der russischen Nationaloper. | StAI | 13 | 93-96 | |||
| | 126. | Brabcová, Jitka | K recepci Bachova a Händelova díla v koncìrtním životì Moravy na pøelomu 19. a 20. století. | [cr]Brno1985 | 187-192 | ||||
| | 127. | Brabcová, Jitka | Zur Bach- und Händelrezeption im Konzertleben Mährens um 1900. | [cr]Stuttgart1985 | ii: 172-177 | ||||
| | 128. | Brandstetter, Gabriele | De figura: Rhetorik - Bewegung - Gestalt. | [ce]DeFigura | 339p | ||||
| | 129. | Brettenthaler, Sabine | Carl Philipp Emanuel Bach. | Mozartwoche | 315-319 | ||||
| | 130. | Brinkmeyer, Elisabeth | Bach-Zyklus in Würzburg. | MKirche | 51 | 1 | 44 | ||
| | 131. | Brockhoff, Maria Elisabeth | Johann Sebastian Bach: 'Schweigt stille, plaudert nicht'. Kantate BWV 211. | NZsfM(2) | 144 | 9 | 26-27 | ||
| | 132. | Brockhoff, Maria-Elisabeth | Studien zur Struktur der italienischen und deutschen Triosonate im 17. Jahrhundert. | diss. | 147p | ||||
| | 133. | Brödner, Isabell | Carl Riedel. Ein Leipziger Bach-Pionier des 19. Jahrhunderts. | BachMag | 13 | 20-23 | |||
| | 134. | Buschmeier, Gabriele | Die Entwicklung von Aria und Szene in der französischen Oper von Gluck bis Spontini. | MainzStMw | 27 | 334p | |||
| | 135. | Buschmeier, Gabriele | Mainz, 9.-11. November 1988: Incerta-Kolloquium. | Mf | 42 | 4 | 360-361 | ||
| | 136. | Buschmeier, Gabriele; Hortschansky, Klaus (eds.) | Tanzdramen Opéra-comique: Kolloquiumsbericht der Gluck-Gesamtausgabe. | GluckSt | 2 | 189p | |||
| | 137. | Busch-Salmen, Gabriele | Adolph Menzels Flötenkonzert Friedrichs des Großen in Sanssouci: Ein vertrautes Gemälde, 150 Jahre nach seiner Fertigstellung neu gesehen. | MusicArt | 28 | 1-2 | 127-146 | ||
| | 138. | Busch-Salmen, Gabriele | Aspekte der Bachrezeption in Flötenschulwerken des 19. und 20. Jahrhunderts. | [cr]Stuttgart1985 | ii: 398-403 | ||||
| | 139. | Busch-Salmen, Gabriele | Friedrich Ludwig Dülons Begegnungen mit C.P.E. Bach im Januar und Februar des Jahres 1783. | CPEBachKonzepteSR | 2 | 443-453 | |||
| | 140. | Busch-Salmen, Gabriele | Tempo- und Instrumentenwahl bei der Flötenmusik Johann Sebastian Bachs. | StAI | 25 | 15-21 | |||
| | 141. | Byèkov, Ûrij Nikolaeviè; Nemirovskaâ, Izol'da Abramovna (eds.) | Voprosy muzykoznaniâ: Teoriâ, istoriâ, metodika. II. | [ce]VoprosyMuzykoznania | 2 | 140p | |||
| | 142. | Bérard, Sabine | Quel(s) sujet(s) pour une Fugue ? La Fugue et le Prélude en la mineur, numéro 20 BWV 865, du premier livre du Clavier Bien Tempéré. | OstinatoRigore | 16 | 239-261 | |||
| | 143. | Cable, James H. | Brandenburg 3 [inserting a slow movement]. | MTimes | 106 | 1473 | 854 | ||
| | 144. | Cabrera, Enrique | El genio dialéctico de Juan Sebastián Bach. | 15p | |||||
| | 145. | Calabretto, Roberto (ed.) | Andrej Tarkovskij e la musica. | QuadMusicaRealta | 58 | viii, 309p | |||
| | 146. | Caland, Elisabeth (ed.) | Carl Philipp Emanuel Bach Album: eine Auswahl von Klavierstücken aus den Werken / von Emanuel Bach. | 88p | |||||
| | 147. | Caland, Elisabeth (arr.) | Neues Carl Philipp Emanuel Bach-Album: eine Auswahl von Klavierstücken aus den Werken von Emanuel Bach. | 67p | |||||
| | 148. | Caland, Elisabeth (ed.) | Sieben Hauptwerke aus dem Klavierschaffen von Carl Philipp Emanuel Bach. | 48p | |||||
| | 149. | Caland, Elisabeth (ed.) | Zehn Klavierstücke älterer Meister | 47p | |||||
| | 150. | Caland, Elisabeth (ed.) | Zwei Klavierstücke / Carl Philipp Emanuel Bach. | 15p | |||||
| | 151. | Calov, Abraham | Die Heilige Bibel nach S. Herrn D. Martin Lutheri Deutscher Dolmetschung und Erklärung, vermöge des Heil. Geistes im Grund-Text Richtiger Anleitung der Cohaerentz, Und der ganzen Handlung eines jeglichen Texts | ||||||
| | 152. | Camón Caballero, Eugenia | Bach en casa. | Ritmo | 726 | 80-83 | |||
| | 153. | Carlevaro, Abel | Technique Analysis and Interpretation of J.S. Bach: Chaconne (BWV 1004). | 52p | |||||
| | 154. | Casals, Pablo; Siloti, Alexsander (ed.) | Air: extrait de la suite d'orchestre en ré / Johann Sebastian Bach. | 3p + St | |||||
| | 155. | Caulibus, Johannes de; Maurus, Hrabanus; Schäufelein, Han; Henrici, Christian Friedrich | Betrachtungen über die Passion Jesu Christi. | Fusa | 16-20 | 2-113 | |||
| | 156. | Cazaban, Costin | Barabbam! | Silences | 2 | 127-131 | |||
| | 157. | Cazaban, Costin | Monumentul. | Luceafarul | 20 | 5 | 5 | ||
| | 158. | Chabanon, Michael-Paul Guy de | De la musique considérée en elle-méme et dans ses rapports avec la parole, les langues, la poésie, et le théatre. | 459p | |||||
| | 159. | Chabanon, Michael-Paul Guy de | Observations sur la musique, et principalement sur la metaphysique de l'art. | xx, 215p | |||||
| | 160. | Chabora, Robert Joseph | Canonic techniques of the 'Goldberg Variations', the 'Canonic Variations' and the 'Fourteen Canons' of Johann Sebastian Bach. | diss. | iv, [iii], 202p | ||||
| | 161. | Chaffin, Roger; Imreh, Gabriela | A comparison of practice and self-report as sources of information about the goals of expert practice. | PsycholM | 29 | 1 | 39-69 | ||
| | 162. | Chaffin, Roger; Imreh, Gabriela; Lemieux, Anthony F.; Chen, Colleen | 'Seeing the big picture': Piano practice as expert problem solving. | MPerception | 20 | 4 | 465-490 | ||
| | 163. | Ciampi, Fabiana (ed.) | I suoni ritrovati. Atti del Convegno – Monzuno (BO) 30 agosto 2008. | [cr]Monzuno2008 | xv, 266p | ||||
| | 164. | Clemen, Jörg; Grabowski, Miriam | Nachrichten aus dem Bach-Archiv Leipzig. | MtblNBG | 54 | 37-40 | |||
| | 165. | Cohen, Annabel J. | Tonality and perception: musical scales primed by excerpts from The Well-Tempered Clavier of J. S. Bach. | PsycholResearch | 53 | 4 | 305-314 | ||
| | 166. | Colgin-Abeln, Melissa | The Solo Flute Sonata of C.P.E. Bach: A flesh look at an old masterpiece. | FlutistQ | 30 | 1 | 48-55 | ||
| | 167. | Consolini, Gabriella (ed.) | Raccolta scelta dalle Suites francesi, inglesi, dalle Sonate per violino, dalle cantate dai preludi e fughe del Clavicembalo ben temperato di G. S: Bach. | ||||||
| | 168. | Crabtree, Phillip D.; Foster, Donald H. | Sourcebook for Research in Music. | xiii, 236p | |||||
| | 169. | Cuker, Anatolij Moiseevic; Zenkin, Konstantin Vladimirovic; Zabinskij, Konstantin A. | Iskusstvo na rubezah vekov. | [cr]Rostov1998 | 453p | ||||
| | 170. | Curry, Robert; Gable, David; Marshall, Robert L. (eds.) | Variations on the canon: Essays on music from Bach to Boulez in honor of Charles Rosen on his eightieth birthday. | EastmanStudM | 58 | x, 375p | |||
| | 171. | Dabaeva, Irina Prokop'evna; Loseva, Ol'ga Vladimirovna; Sokolov, Aleksandr Sergeeviè; Šabunova, Irina Mihajlovna (eds.) | Pamâti Evgeniâ Vladimirovièa Nazajkinskogo: Interv'û. Stat'i. Vospominaniâ | [fs]Nazajkinskij | 368p | ||||
| | 172. | D'Annunzio, Gabriele | Adagio della suite in re maggiore. | [ce]Fattori | 99 | ||||
| | 173. | D'Annunzio, Gabriele | Un preludio. | [ce]Fattori | 98-99 | ||||
| | 174. | Delaborde, E. M.; Philipp, Isidor (arr.) | Sonata no. 2 for flute and piano, in E flat major, BWV 1031 2nd mvt. / J. S. Bach | ||||||
| | 175. | Demers, Isabelle | Bach as Theologian; Motives, Key Structures and Accidentals in the St. John Passion. | diss. | 240p | ||||
| | 176. | Dessauer, Gabriel | Bach-Spiel heute - Gedanken eines Nicht-Musikwissenschaftlers. | BachWochen_Wiesbaden | 12 | 104-106 | |||
| | 177. | Dlabacž, Gottfried Johann [Dlabaè, Bohumír Jan] | Allgemeines historisches Künstler-Lexikon für Böhmen und zum Theil auch für Mähren und Schlesien. | 684, 620, 448 Sp | |||||
| | 178. | Dobrzañska-Fabiañska, Zofia; Kubieniec, Jakub; Sitarz, Andrzej; Wilk, Piotœ (eds.) | Muzykolog wobec œwiadectw Ÿródlowych i dokumentów: Ksiêga Pami¹tkowa dedykowana Profesorowi Piotrowi PoŸniakowi w 70. rocznicê urodzin. | [fs]Pozniakowi70 | 815p | ||||
| | 179. | Dolmetsch, Mabel | Archive: On Equal Temperament. | Consort | 29 | 39-41 | |||
| | 180. | Dolmetsch, Mabel | The Antiquity of Equal Temperament. | Consort | 5 | 1-6 | |||
| | 181. | Doppelmayr, Johann Gabriel | Historische Nachricht Von den Nürnbergischen Mathematicis und Künstlern, welche fast von dreyen Seculis her Durch ihre Schrifften und Kunst-Bemühungen die Mathematic und mehreste Künste in Nürnberg vor andern trefflich befördert, und sich um solche sehr wohl verdient gemacht, zu einem guten Exempel, und zur weitern rühmlichen Nachahmung: zu einem guten Exempel, und zur weitern rühmlichen Nachahmung in zweyen Theilen an das Licht gestellet ... | 314p | |||||
| | 182. | Draber, H. W. | Bach-Beethoven-Brahms-Fest in Berlin oder: 'Viel Lärm um Nichts' | NMz(Stuttgart) | 34 | 18 | 370-372 | ||
| | 183. | Drabkin, William | A lesson in analysis from Heinrich Schenker: the C Major prelude from Bach's Well-tempered Clavier, Book 1. | MAnalysis | 4 | 3 | 241-258 | ||
| | 184. | Drabkin, William | 'Bisogna leggere Schenker': sull' analisi del Preludio in Do Maggiore BWV 924 di Bach. | RivistaItaliMcol | 24 | 1 | 48-66 | ||
| | 185. | Drabkin, William; Pasticci, Susanna; Pozzi, Egidio | Analisi schenkeriana: Per un'interpretazione organica della struttura musicale. | QuadMusicaRealta | 32 | 165p | |||
| | 186. | Dressler, Carolyn Elizabeth | Armida abbandonata by George Frideric Handel. An edition reflecting the performance practice of the Baroque era. | diss. | 61p | ||||
| | 187. | Du Bois, Elizabeth Ann | A comparison of Georg Philipp Telemann's use of the recorder and the transverse flute, as seen in his chamber works. | EmporiaSRS | 30 | 3 | 72p | ||
| | 188. | Dukay, Barnabás; Ábrahám, Márta | Excerpts from eternity: The Purifidcation of Time and Character. The Fulfilment of Love. Cooperation with the Celestial Will in Johann Sebastian Bach's Ciaccona for Violin. | 148p | |||||
| | 189. | Edelmann, Bernd; Kurth, Sabine | Compositionswissenschaft: Festschrift Reinhold und Roswitha Schlötterer zum 70. Geburtstag. | [fs]Schlötterer70 | 384p | ||||
| | 190. | Edler, Arnfried; Meine, Sabine (eds.) | Musik, Wissenschaft und ihre Vermittlung: Bericht über die internationale musikwissenschaftliche Tagung der Hochschule für Musik und Theater Hannover. | PubHochsMTheaterHannover | 12 | 374p | |||
| | 191. | Ehrmann-Herfort, Sabine | Das vornehmste ... in der Music ist eine gute, fliessende, bewegliche Melodie. Johann Mattheson und die Empfindsamkeit. | VeröffIHändelAkadKarlsruhe | 8 | 227-250 | |||
| | 192. | Ehrmann-Herfort, Sabine; Finscher, Ludwig; Schubert, Giselher (eds) | Europäische Musikgeschichte. | [ce]EuropaischeMusikgeschichte | 1392p | ||||
| | 193. | Ehrmann, Sabine | Johann Sebastian Bachs Leipziger Textdichterin Christiane Mariane von Ziegler. | BeitrBachF | 9-10 | 261-268 | |||
| | 194. | Elbon, Virginia Elizabeth | Symmetry and proportion: Generative and formative procedures of J. S. Bach's 'Brandenburg Concerto No. 3'. | diss. | vii, 33p | ||||
| | 195. | Elferen, Isabella van | Affective discourse in German baroque textbased music. | TijdschrMtheorie | 9 | 3 | 217-236 | ||
| | 196. | Elferen, Isabella van | Blood and Tears in J.S. Bach's Passions. | [p]BachsPassions_Miami | |||||
| | 197. | Elferen, Isabella van | Gothic music: The sounds of the uncanny. | 229p | |||||
| | 198. | Elferen, Isabella van | 'Ihr Augen weint!' Intersubjective Tears in the Sentimental Concert Hall. | UnderstandingBach | 2 | 77-94 | |||
| | 199. | Elferen, Isabella van | 'Let tears of blood run down your cheeks'. Floods of blood, tears and love in German baroque devotional literature and music. | ||||||
| | 200. | Elferen, Isabella van | Musical expression of mystic love in Bach's vocal work. | [p]IBS_Utrecht | |||||
| | 201. | Elferen, Isabella van | Mystical love in the German Baroque: theology, poetry, music. | ContextBachStud | 2 | xxvi, 357p | |||
| | 202. | Elferen, Isabella van | Mystische Liebe in Text und Musik der barocken Passionsbetrachtung. | [p]WAfB_Wolfenbüttel | |||||
| | 203. | Elferen, Isabella van | Reading, seeing, hearing and feeling in Lutheran poetry and music of the German baroque. | [p]Paragone_Utrecht | |||||
| | 204. | Elferen, Isabella van | 'Recht bitter und doch süße'. Lutherse theologie en mystieke liefde in de Matthäus-Passion. | [ce]GeheimenMatthausPassion | 81-91 | ||||
| | 205. | Elferen, Isabella van | 'Recht bitter und doch süße': Textual and Musical Expression of Mystical Love in German Baroque Meditations of Christ's Passion. | Bach | 35 | 1 | 1-28 | ||
| | 206. | Elferen, Isabella van | 'Seuffzen und Thränen': of sighs and tears in Bach's vocal works. | [p]BICB_Manchester | |||||
| | 207. | Elferen, Isabella van | 'Sie creutzigen alle Sinne des Leibes!' Die lutherische Passionsbetrachtung als Affekttherapie. | [p]IATB_Eisenach | |||||
| | 208. | Elferen, Isabella van | 'Sie creutzigen alle Sinne des Leibes!' Multi-mediality, Consolatio Tragoediae and Lutheran Pedagogy in the German Baroque Passion Meditation. | 121-143 | |||||
| | 209. | Elferen, Isabella van | Tears of Transgression. Crying, Sensitivity, and Performance in Musical Culture of the Empfindsamkeit. | ||||||
| | 210. | Elferen, Isabella van | The affection of love in arts and sciences of the German baroque. | [p]RE_Manchester | |||||
| | 211. | Elferen, Isabella van | The Gothic Bach. | UnderstandingBach | 7 | 9-20 | |||
| | 212. | Elferen, Isabella van | The Gothic Bach: Film, TV, Subculture ... and Liturgy. | [p]BNUK_Edinburgh | |||||
| | 213. | Elferen, Isabella van | The Hungry Soul: Communion Mystics and Physiology in J. S. Bach's St. Matthew Passion. | Bach | 40 | 1 | 35-57 | ||
| | 214. | Elferen, Isabella van | The language of love. Baroque mystical love as an intertextual phenomenon. | [p]ABS_Harvard | |||||
| | 215. | Elferen, Isabella van | Theological symbolism of blood and tear metaphors in German baroque poetry and music. | [p]CHB_Cambridge | |||||
| | 216. | Elferen, Isabella van | 'Und ging hinaus, und weinete bitterlich': Music crossing Social Borders in C.P.E. Bach's Passions. | [p]ABS_Leipzig | |||||
| | 217. | Elferen, Isabella van | Van Laura tot hemelse bruidegom: Mystieke liefde in poëzie en muziek van de Duitse barok. | Incontri | 20 | 1 | 99-112 | ||
| | 218. | Elferen, Isabella van | Visuality in poetry and music of the early German baroque. | [p]MVK_Groningen | |||||
| | 219. | Elferen, Isabella van | Von Laura zum himmlischen Bräutigam: Der petrarkistische Diskurs in Dichtung und Musik des deutschen Barock. | diss. | 286p | ||||
| | 220. | Ernst, Clara; Ernst, Elisabeth | Baugeheimnisse der Kunst der Fuge von J. S. Bach. | 30p | |||||
| | 221. | Espinosa, Pablo | Sala de redacción: Tres textos melómanos. | Quodlibet(Palacio) | 24 | 46-57 | |||
| | 222. | Faber, Heinrich | Ad musicam practicam introductio: non modo praecepta, sed exempla quoque ad usum puerorum accommodata, quam brevissime continens. | 95 Bl | |||||
| | 223. | Faber, Heinrich | Compendiolum musicae pro incipientibus. Per magistrum Henricum Fabrum conscriptum, ac nunc denuo, cum additione alterius Compendioli recognitum. | CollEtudesMcol | 96 | 16 Bl | |||
| | 224. | Faber, Heinrich | Musica poetica | ||||||
| | 225. | Faber, Heinrich; Rid, Christoph | Musica Kurtzer inhalt der singkunst, auß M. Heinrich Fabri Lateinischem Compendio Musicae, von wort zu wort für anfahende Lehrjungen inn ringverstendig Teutsch gebracht. | 20 Bl | |||||
| | 226. | Faber, Rudolf [et al] (eds.) | Festschrift Ulrich Siegele zum 60. Geburtstag. | [fs]Siegele60 | 184p | ||||
| | 227. | Faber, Rudolf; Hartmann, Philip (eds.) | Handbuch Orgelmusik: Komponisten - Werke - Interpretationen. | xv, 712p | |||||
| | 228. | Fabian, Bernhard | Adolf von Harnack als Wissenschaftsorganisator und Bibliothekspolitiker ; Ansprache bei der Festveranstaltung der Staatsbibliothek zu Berlin anlässlich des 150. Geburtstages ihres früheren Generaldirektors. | JbPreussKulturbesitz | 37 | 107-123 | |||
| | 229. | Fabian, Dorottya | Adalékok J.S. Bach szóló hegedûszonátáinak és -partitáinak elõadástörténetéhez. | MagyarZene | 42 | 3-4 | 311-335 | ||
| | 230. | Fabian, Dorottya | A musicology of performance: theory and method based on Bach's solos for violin. | ii, 339p | |||||
| | 231. | Fabian, Dorottya | Bach Performance Practice, 1945-1975: A Comprehensive Review of Sound Recordings and Literature. | xiv, 314p | |||||
| | 232. | Fabian, Dorottya | Bach performance practice in the twentieth century: recordings, reviews and reception. | BachNachwelt | 4 | 157-167 | |||
| | 233. | Fabian, Dorottya | Bach performance practice in the twentieth century: recordings, reviews and reception. | IrishMStud | 8 | 179-189 | |||
| | 234. | Fabian, Dorottya | Bach recordings as a chronicle of performance style: in search of analytical tools for a critical assessment. | [p]BCB_Exeter | |||||
| | 235. | Fabian, Dorottya | Commercial Sound Recordings and Trends in Expressive Music Performance: Why Should Experimental Researchers Pay Attention? | [ce]ExpressivenessMPerform | 58-79 | ||||
| | 236. | Fabian, Dorottya | Is diversity in Musical Performance Truly in Decline? The Evidence of Sound Recordings. | Context | 31 | 165-180 | |||
| | 237. | Fabian, Dorottya | J. S. Bach Recordings 1945-1975: St Matthew and St John Passions, Brandenburg Concertos and Goldberg Variations - A Study of the Changing Style of Performance in the Context of the Early Music Movement. | diss. | |||||
| | 238. | Fabian, Dorottya | Ornamentation in recent recordings of J.S. Bach's solo sonatas and partitas for violin. | MinAd | 11 | 2 | 1-21 | ||
| | 239. | Fabian, Dorottya | The Changing Style of Performing J. S. Bach's Music 1950-1975. | [p]BCB_Birmingham | |||||
| | 240. | Fabian, Dorottya | The Merits of Archival Research in Music: Reviews of The English Bach Awakening and Musical Entries at Stationers' Hall 1710-1818. | McolAustralia | 28 | 127-130 | |||
| | 241. | Fabian, Dorottya | The Recordings of Joachim, Ysaÿe and Sarasate in light of their Reception by Nineteenth-Century British Critics. | IReviewAesthSociolM | 37 | 2 | 189-211 | ||
| | 242. | Fabian, Dorottya | Towards a Performance History of Bach's Sonatas and Partitas for Solo Violin: Preliminary Investigations. | [fs]Somfai70 | 87-108 | ||||
| | 243. | Fabian, Dorottya; Ornoy, Eitan | Identity in violin playing on records: Interpretation profiles in recordings of solo Bach by early twentieth-century violinists. | PerformPractReview | 14 | 1 | 1-40 | ||
| | 244. | Fabian, Dorottya; Schubert, Emery | An experimental investigation of musical character portrayed by piano versus harpsichord performances of a J.S. Bach excerpt | 70-84 | |||||
| | 245. | Fabian, Dorottya; Schubert, Emery | Expressive devices and perceived musical character in 34 performances of Variation 7 from Bach's Goldberg Variations. | MScientiae | Special Issue | 49-71 | |||
| | 246. | Fabian, Dorottya; Schubert, Emery | Musical character and the performance and perception of dotting, articulation and tempo in 34 recordings of Variation 7 from J.S. Bach's Goldberg variations (BWV 988). | MScientiae | 12 | 2 | 177-206 | ||
| | 247. | Fabian, Dorottya; Schubert, Emery | Performed and perceived dotting are different: Implications for performance practice and pedagogy. | [cr]CIM04_Graz | 74-75 | ||||
| | 248. | Fabian, Dorottya; Timmers, Renee; Schubert, Emery (eds.) | Expressiveness in music performance: Empirical approaches across styles and cultures. | [ce]ExpressivenessMPerform | 416p | ||||
| | 249. | Fabian Somorjay, Dorottya | A Bach-interpretacio valtozo stilusa: Goldberg variációk 1945-1978. | [fs]Kroo70 | 26-41 | ||||
| | 250. | Fabian Somorjay, Dorottya | Bach performances during the late 20th century: practice, scholarship and reception. | [p]BCB_Dublin | |||||
| | 251. | Fabian Somorjay, Dorottya | Changing style in performing J.S. Bach's music, 1945-1978: The Goldberg Variations | Consort | 53 | 23-39 | |||
| | 252. | Fabian Somorjay, Dorottya | Musicology and performance Practice: In Search of a Historical Style with Bach Recordings. | StudMcolAcadSciHungaricae | 41 | 1-3 | 77-106 | ||
| | 253. | Fabian Somorjay, Dorottya; Schubert, Emery | The multidimensional perception space of Baroque music. | [cr]ESCOM_Keele | |||||
| | 254. | Fabiañska, Zofia; Jarzêbska, Alicja; Sitarz, Andrzej (eds.) | Donum natalicum: Studia Thaddaeo Przybylski octogenario dedicata. | [fs]Przybylski80 | 520p | ||||
| | 255. | Fabricus, Ulrich; Volp, Rainer (eds.) | Sichtbare Kirche. Für Heinrich Laag zu seinem 80. Geburtstag. | SchrRInstKbauKKunstGegenw | 3 | 275p | |||
| | 256. | Fabrikant, Marina | Bach-Busoni Chaconne. A piano transcription analysis. | diss. | vi, 152p | ||||
| | 257. | Fabrio, Nedjeljko | Aspekti europske glazbe u hrvatskoj literarnoj praksi: Novi prilozi bratimstvu duša. | ||||||
| | 258. | Fabrio, Nedjeljko | Sa Slavkom Mihaliæm o Johannu Sebastianu Bachu. | Forum | 36 | 1-3 | 60-61 | ||
| | 259. | Fabrio, Nedjeljko; Otržan, Ðurða; Dešpalj, Valter; Supek, Ivan | Što je (i je li još išta?) danas, nama, Antonio Janigro? | WAM | 1 | 2 | 49-51 | ||
| | 260. | Fano, Fabio | Il culto di Busoni per Bach e progressive deviazione (L'Arte della fuga nella Fantasia contrappuntistica). | QuadCentroTedescoStudiVeneziani | 36 | 187-195 | |||
| | 261. | Fano, Fabio | La vera lezione della 'Fantasia cromatica e fuga' di Bach. | CollectHistM | 1 | 157-164 | |||
| | 262. | Farnaby, Thomas | Index rhetoricus et oratorius, Scholis & institutionis tenerioris ætatis accomodatus. Cui Adjiciuntur Formulæ Oratoriæ, Et Index Poeticus. | ||||||
| | 263. | Fauré, Gabriel (ed.) | 8 petits préludes et fugues et pièces diverses. | OeuvCompOrg(Fauré) | 1 | 5 | 45p | ||
| | 264. | Fauré, Gabriel (ed.) | Chorals. 1er Cahier de CHORALS variés. | OeuvCompOrg(Fauré) | 2 | 1 | 43p | ||
| | 265. | Fauré, Gabriel (ed.) | Chorals. 2me Cahier de CHORALS variés. | OeuvCompOrg(Fauré) | 2 | 2 | 54p | ||
| | 266. | Fauré, Gabriel (ed.) | Chorals. 3me Cahier de CHORALS variés. | OeuvCompOrg(Fauré) | 2 | 3 | 56p | ||
| | 267. | Fauré, Gabriel (ed.) | Chorals. 4me Cahier de CHORALS variés. | OeuvCompOrg(Fauré) | 2 | 4 | 74p | ||
| | 268. | Fauré, Gabriel (ed.) | Chorals. 5me Cahier de CHORALS variés. | OeuvCompOrg(Fauré) | 2 | 5 | 71p | ||
| | 269. | Fauré, Gabriel (ed.) | Préludes et fugues. [Cah.1] | OeuvCompOrg(Fauré) | 1 | 1 | 67p | ||
| | 270. | Fauré, Gabriel (ed.) | Préludes et fugues. [Cah.2] | OeuvCompOrg(Fauré) | 1 | 2 | 54p | ||
| | 271. | Fauré, Gabriel (ed.) | Sonates. | OeuvCompOrg(Fauré) | 3 | 1 | 74p | ||
| | 272. | Fauré, Gabriel; Bonnet, Joseph (ed.) | Concertos d'après Vivaldi. | OeuvCompOrg(Fauré) | 3 | 2 | 51p | ||
| | 273. | Fauré, Gabriel; Bonnet, Joseph (eds.) | Pièces diverses / J. S. Bach. | OeuvCompOrg(Fauré) | 3 | 4 | 60p | ||
| | 274. | Fauré, Gabriel; Bonnet, Joseph (eds.) | Préludes et fugues. | OeuvCompOrg(Fauré) | 3 | 3 | 49p | ||
| | 275. | Fauré, Gabriel; Bonnet, Joseph (ed.) | Préludes et fugues. [Cah.3] | OeuvCompOrg(Fauré) | 1 | 3 | 65p | ||
| | 276. | Fauré, Gabriel; Bonnet, Joseph (eds.) | Préludes et fugues. [Cah.4] | OeuvCompOrg(Fauré) | 1 | 4 | 65p | ||
| | 277. | Fauré, Gabriel; Long, Marguerite (eds.) | Clavecin bien tempéré. Volume I [et II] / J.S. Bach. | iii, 125p; ii, 142p | |||||
| | 278. | Fekete, Csaba | Bach es az applikatura. | MagyarEgyhazzene | 5 | 211-215 | |||
| | 279. | Feldtkeller, Elisabeth | Lieder Paul Gerhardts im geistlichen Tanz. | [ce]PaulGerhardtKirche | 43-62 | ||||
| | 280. | Field, Elizabeth Imbert | Performing Solo Bach: An Examination of the Evolution of Performance Traditions of Bach's Unaccompanied Violin Sonatas from 1802 to the Present. | diss. | 194p | ||||
| | 281. | Fischbach, Elisabeth (ed.) | Jetzt wächst zusammen ...: eine Bibliothek überwindet die Teilung. Ausstellung: 11. November 1991 bis 11. Januar 1992. | AusstellungKatSPKNF | 3 | 77p | |||
| | 282. | Fischer, Elisabeth A. | Eine Sammelhandschrift aus dem Anfang des 17. Jahrhunderts. | AfMw | 8 | 4 | 420-432 | ||
| | 283. | Fischer-Krückeberg, Elizabeth | Johann Crüger als Musiktheoretiker. | ZsfMw | 12 | 11-12 | 609-629 | ||
| | 284. | Fábián Somorjay, Dorottya [Fabian Somorjay, Dorottya] | A Goldberg-variációk különbözõ felvételei: A Bach-interpretáció változása 1945-1981 között. | BachTanulmanyok | 6 | 17-34 | |||
| | 285. | Gabaj, Jurij S. | Problema edinstva v passionach J. S. Bacha. Kul'turolog. aspekt. | ||||||
| | 286. | Gabbrielli, Michelangelo | Il «Credo» della Messa in B minore di J. S. Bach: la retorica del testo. | OffertaM | 1 | 1 | 29-39 | ||
| | 287. | Gabeaud, Alice | Analyse des preludes et des fugues du 2e livre du clavier bien tempere. | LEducM | 5 | 46 | |||
| | 288. | Gabeaud, Alice | La passion selon Saint-Mathieu. | LEducM | 6 | 55, 57 | |||
| | 289. | Gabeaud, Alice | Trios Préludes et Fugues de J.-S. Bach. (Clavecin bien tempéré, 1er livre.) | LEducM | 13 | 50 | 214-215 | ||
| | 290. | Gabinski, G. | Veliki Èarodey Garmonija. | NaukaReligija | 4 | 63-65 | |||
| | 291. | Gabinski, Grigorij | Zemnoe pritjazenie 'strastej': 300 let so dnja rozdenija Ioganna Sebast'jana Baha. | NaukaReligija | 3 | 47-49 | |||
| | 292. | Gable, Frederick | Style and Performance Alternatives in the Monophonia harmonico-latina (1633/34) of Thomas Selle. | Auskunft | 19 | 3 | 258-278 | ||
| | 293. | Gaborit, Abel | Le mystère pascal dans les chorals d'orgue de Bach. II-V. | MSacreeLOrganiste | 123 | 235-238 | 4, 2-5, 3-5, 3-6 | ||
| | 294. | Gaborit, Abel | Le mystère pascal dans les chorals d'orgue de J.S. Bach. I. | MSacreeLOrganiste | 122 | 231 | 4-5 | ||
| | 295. | Gabrielová, Jarmila; Kachlík, Jan (eds.) | The Work of Antonín Dvoøák (1841-1904): aspects of composition - problems of editing - reception: proceedings of the international musicological conference, Prague, September 8-11, 2004. | [cr]Prague2004 | 445p | ||||
| | 296. | Gabrielse, Kenneth J. | A Conductor's Analysis of 'Gloria' Settings from Five Masses and a Pedagogical Approach to Their Performance. | diss. | 123p | ||||
| | 297. | Gabriel, Thomas | Multidimensional. | [ce]BegegnungenMitBach | 114-115 | ||||
| | 298. | Giesbrecht, Sabine | 'Lieb' Vaterland, magst ruhig sein': Musik und Nationalismus im deutschen Kaiserreich. | EdSuhrkamp | 2401 | 413-442 | |||
| | 299. | Glabbatz, H. | Die Verwendung Bach'scher Orgelwerke im evangelischen Gemeindegottesdienst. | MsGottesdKKunst | 14 | 2, 3 | 55-59; 95-97 | ||
| | 300. | Graben-Hoffmann, Gustav (ed.) | Ave Maria, auf eine zu dem ersten Prälndium v. J.S. Bach gesetzte Melodie. | ||||||
| | 301. | Graben-Hoffmann, Gustav (ed.) | [Magnificat ('Et misericordia') / Joh. Seb. Bach] |
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