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Type | List | Author | Title [further info] | Series | Vol | No | Year | Pages | Status |
---|---|---|---|---|---|---|---|---|---|
1. | Author-Title-Subject: Cumulative Index 1970-2000 | Bach | 31 | 2 | 1-67 | ||||
2. | George Kochevitsky Speaks Concerning the Performance of Early Music. (1972-1976) | Bach | 25 | 2 | 54-58 | ||||
3. | Parvula Corona Musicalis by Ernst Krenek: The Composer's Autograph Manuscript and Explanations. | Bach | 27 | 1 | 66-85 | ||||
4. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part I: Einige Canonische Veränderungen über das Weynacht-Lied 'Vom Himmel hoch da komm ich her'. | Bach | 8 | 3 | 13-25 | ||||
5. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part II: Clavierübung, Book I [The Clavier Partitas] ([Leipzig]: Published by the Author, 1731), Partita 1, title-page, Praeludium, Allemande, Corrente, Sarabande. | Bach | 8 | 4 | 11-22 | ||||
6. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part III: Clavierübung, Book I [The Clavier Partitas] ([Leipzig]: Published by the Author, 1731), Partita 1 (contd.) Menuet I, Menuet II, Giga; Partita II Sinfonia. | Bach | 9 | 1 | 15-22 | ||||
7. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part IV: Clavierübung, Book I [The Clavier Partitas] ([Leipzig]: Published by the Author, 1731), Partita II (contd.) Allemande, Courante, Sarabande, Rondeaux, Capriccio [1st half]. | Bach | 9 | 2 | 17-24 | ||||
8. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part IX: Clavierübung, Book I [The Clavier Partitas] ([Leipzig]: Published by the Author, 1731). Partita IV, Toccata. | Bach | 10 | 3 | 32-39 | ||||
9. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part V: Clavierübung, Book I [The Clavier Partitas] ([Leipzig]: Published by the Author, 1731), Partita II, concluded: Capriccio (last half); Partita III: Fantasia, Allemande, Corrente, Sarabande, Burlesca, Scherzo, Gigue. | Bach | 9 | 3 | 13-24 | ||||
10. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part VI: Clavierübung, Book I [The Clavier Partitas] ([Leipzig]: Published by the Author, 1731), Partita IV. | Bach | 9 | 4 | 11-22 | ||||
11. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part VII: Clavierübung, Book I [The Clavier Partitas] ([Leipzig]: Published by the Author, 1731), Partita V. | Bach | 10 | 1 | 13-25 | ||||
12. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part VIII: Clavierübung, Book I [The Clavier Partitas] ([Leipzig]: Published by the Author, 1731), Partita V, contd.: Passepied, Gigue. | Bach | 10 | 2 | 9-12 | ||||
13. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part X: Clavierübung, Book I [The Clavier Partitas] ([Leipzig]: Published by the Author, 1731). Partita IV, contd.: Allemande, Corrente, Air, Sarabande, Tempo di Gavotta, Gigue. | Bach | 10 | 4 | 9-18 | ||||
14. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. [Part XI] Clavierübung, Book IV [the 'Goldberg' Variations] Nürnberg: Balthaser Schmid [ca. 1742], BWV 988. [BWV 988] | Bach | 11 | 1 | 2-40 | ||||
15. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XIII. Musicalisches Opfer (Musical Offering) (Zella St. Blasi, Thuringia: Johann Georg Schübler, 1747), Part II: Ricercar, a 6. | Bach | 11 | 3 | 24-31 | ||||
16. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XII. Musicalisches Opfer (Musical Offering) (Zella St. Blasi, Thuringia: Johann Georg Schübler, 1747), Part I. | Bach | 11 | 2 | 29-36 | ||||
17. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XIV. Die Kunst der Fuge (Leipzig, 1752). | Bach | 11 | 4 | 32-36 | ||||
18. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XIX. Die Kunst der Fuge (Leipzig, 1752). Conclusion. | Bach | 13 | 1 | 2-44 | ||||
19. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XIX [sic!]. Suite Première avec Prelude (Eighteenth-century Manuscript Copy of the First 'English' Suite) | Bach | 13 | 2 | 29-36 | ||||
20. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XV. Die Kunst der Fuge (Leipzig, 1752). Contrapunctus I; Contrapunctus II. | Bach | 12 | 1 | 30-35 | ||||
21. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XVI. Die Kunst der Fuge (Leipzig, 1752). Contrapunctus III, Contrapunctus IV. | Bach | 12 | 2 | 20-27 | ||||
22. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XVI. Die Kunst der Fuge (Leipzig, 1752). Contrapunctus V, Contrapunctus VI. | Bach | 12 | 3 | 30-36 | ||||
23. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XVIII. Die Kunst der Fuge (Leipzig, 1752). Contrapunctus VII, Contrapunctus VIII. | Bach | 12 | 4 | 28-35 | ||||
24. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XXII. 13 Parts to Cantata BWV 174 (1729), Ich liebe den Höchsten von ganzem Gemüte, Manuscript in the hands of J. S. Bach and his circle. Wrappers 1 and 2, Cornu d'Caccia 2, Hautbois 1. [BWV 174] | Bach | 14 | 1 | 29-39 | ||||
25. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XXIII. 13 Parts to Cantata BWV 174 (1729), Ich liebe den Höchsten von ganzem Gemüte, Manuscript in the hands of J. S. Bach and his circle. complete in this issue. [BWV 174] | Bach | 14 | 2 | 3-60 | ||||
26. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XXI. [Suite 5] Prelude, BWV 810 Gigue; [Suite 6] Prelude, BWV 811. [BWV 810, 811] | Bach | 13 | 4 | 14-29 | ||||
27. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XXIV. Heinrich Nicolaus Gerber's Eighteenth-century Manuscript Copy of J. S. Bach's Wohl-temperirte Clavier. Introductory Information and Facsimiles of the Title Page, and the First 7 Pages of Music (1725) | Bach | 14 | 3 | 31-44 | ||||
28. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XXIX. Heinrich Nicolaus Gerber's Eighteenth-century (1725) Manuscript Copy of J. S. Bach's Das wohl-temperirte Clavier (Continued). | Bach | 15 | 4 | 37-52 | ||||
29. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XX. Suite Première avec Prelude. Prélude, Gigue; [Suite 6] Gigue. | Bach | 13 | 3 | 23-34 | ||||
30. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XXV. Heinrich Nicolaus Gerber's Eighteenth-century (1725) Manuscript Copy of J. S. Bach's Das wohl-temperirte Clavier (Continued). Introductory Information [which is not given in fact] and Facsimile Plates of Leaves 6-10, Pages 11-20. Preludes and Fugues, Nos.: VII in E-flat Major, VIII in E-flat Minor. | Bach | 14 | 4 | 25-35 | ||||
31. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XXVI. Heinrich Nicolaus Gerber's Eighteenth-century (1725) Manuscript Copy of J. S. Bach's Das wohl-temperirte Clavier (Continued). Introductory Information [which is not given in fact] and Facsimile Plates of Pages 21-27. Preludes and Fugues, Nos.: IX in E Major, X in E Minor. | Bach | 15 | 1 | 36-43 | ||||
32. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XXVII. Heinrich Nicolaus Gerber's Sixteenth-century [sic] (1725) Manuscript Copy of J. S. Bach's Das wohl-temperirte Clavier (Continued). Pages 29-37. Preludes and Fugues, Nos.: XI in F Major, XII in F Minor, XIII in F-sharp Major. | Bach | 15 | 2 | 35-44 | ||||
33. | Riemenschneider Bach Institute Vault Holdings. Bach Tercentenary Facsimile Publication Project. Part XXVIII. Heinrich Nicolaus Gerber's Eighteenth-century (1725) Manuscript Copy of J. S. Bach's Das wohl-temperirte Clavier (Continued). Pages 39-41. Prelude and Fugue No. XIV in F-sharp Minor. | Bach | 15 | 3 | 33-36 | ||||
34. | Adams, Courtney S. | Organization in the Two-Part Inventions of Johann Sebastian Bach, Part I. | Bach | 13 | 2 | 6-16 | |||
35. | Adams, Courtney S. | Organization in the Two-Part Inventions of Johann Sebastian Bach, Part II. | Bach | 13 | 3 | 12-19 | |||
36. | Ahrens, Christian | Johann Sebastian Bach and The 'New Gusto' In Music Around 1740. Trans. by Sabine Thomas and Melvin Unger. | Bach | 33 | 1 | 69-83 | |||
37. | Ambrose, Jane | Madness and Music: Handel's Porphyric Patron, George III. | Bach | 27 | 1 | 57-65 | |||
38. | Ambrose, Jane | Notations on Mattheson's Der Brauchbare Virtuoso. | Bach | 17 | 3 | 3-9 | |||
39. | Ambrose, Jane | Notations on Mattheson's Der brauchbare Virtuoso. (1986) [repr. of Bach xvii/3 (Jul 1986)] | Bach | 25 | 2 | 91-98 | |||
40. | Ambrose, Jane | The Bach Flute Sonatas: Recent Research and a Performer's Observations. | Bach | 11 | 3 | 32-45 | |||
41. | Ambrose, Z. Philip | Another Lament in Weinen, Klagen, Sorgen, Zagen. | Bach | 13 | 3 | 20-22 | |||
42. | Anson-Cartwright, Mark | Teaching Bach's Aria Forms: Expanding Students' Analytical Horizons. Roundtable: Bach in the Music Theory Classroom | Bach | 49 | 2 | 266-280 | |||
43. | Appel, Richard G. | J. S. Bach and the Bay Psalm Book. | Bach | 1 | 3 | 22-24 | |||
44. | Armstrong, Joe (trans.) | The Formation of Bach's Motifs: Chapter Two of André Pirro's L'Esthétique de Jean-Sébastien Bach. | Bach | 41 | 1 | 32-96 | |||
45. | Babitz, Sol | To the editor of Bach. | Bach | 3 | 2 | 40-43 | |||
46. | Babitz, Sol | To the Editor of BACH. From Our Readers. | Bach | 3 | 3 | 43-44 | |||
47. | Badura-Skoda, Eva | Did J. S. Bach Compose 'Pianoforte Concertos'? | Bach | 31 | 1 | 1-16 | |||
48. | Barber, Elinore | Albert Riemenschneider: A Portrait of the Founder of Baldwin-Wallace College's Conservatory of the Occasion of its 100th Anniversary. | Bach | 29 | 2 | 1-7 | |||
49. | Barber, Elinore | Bach Adds a Tempo Mark? | Bach | 1 | 2 | 3-5 | |||
50. | Barber, Elinore | Bach and the B-A-C-H Motive. | Bach | 2 | 2 | 3-5 | |||
51. | Barber, Elinore | Bach's 'Incomplete' Quadruple Fugue from Die Kunst der Fuge (1752-Edition Print Held by the Riemenschneider Bach Institute.) | Bach | 17 | 4 | 24-29 | |||
52. | Barber, Elinore | Bach's Portrait in Gerber's Lexicon. | Bach | 2 | 1 | 3-6 | |||
53. | Barber, Elinore | Beethoven and Bach. | Bach | 1 | 4 | 4-5 | |||
54. | Barber, Elinore | Beethoven on Bach. Excerpts from Letters. | Bach | 1 | 4 | 6-8 | |||
55. | Barber, Elinore | Butter, Guns, and Bach? | Bach | 1 | 3 | 3-4 | |||
56. | Barber, Elinore | [Facsimile of biographical entry of H. N. Gerber in his son's Historisch-Biographisches Lexicon der Tonkunstler, 1790] | Bach | 15 | 1 | 28-34 | |||
57. | Barber, Elinore | Hans Theodore David: 'A Portrait in Outline'. | Bach | 1 | 3 | 25-29 | |||
58. | Barber, Elinore | J. S. Bach and The Critics. | Bach | 2 | 3 | 4-6 | |||
59. | Barber, Elinore | J. S. Bach in the Year of the Moon. | Bach | 1 | 1 | 3-5 | |||
60. | Barber, Elinore | J. S. Bach: Suite 4 à Violoncello Solo -- A Manuscript Copy in the Hand of Anna Magdalena Bach; Doris Ornstein's Harpsichord Transcription of BWV 1010. Errata is published in Bach xxx/1 (1999), 65-66. | Bach | 29 | 1 | 38-76 | |||
61. | Barber, Elinore | Questions to the Editor. [BWV 620, 1003] | Bach | 2 | 2 | 24-26 | |||
62. | Barber, Elinore | Questions to the Editor. [BWV 201] | Bach | 2 | 1 | 38-41 | |||
63. | Barber, Elinore | Questions to the Editor. | Bach | 2 | 3 | 25-27 | |||
64. | Barber, Elinore | Questions to the Editor. [BWV 769] | Bach | 2 | 4 | 32-35 | |||
65. | Barber, Elinore | Questions to The Editor [Part I]. [WK1, BWV 244] | Bach | 1 | 1 | 19-22 | |||
66. | Barber, Elinore | Questions to the editor [Part II]. | Bach | 1 | 2 | 21-25 | |||
67. | Barber, Elinore | Questions to the Editor. [Part III]. | Bach | 1 | 3 | 45-47 | |||
68. | Barber, Elinore | Questions to the Editor. [Part IV.] | Bach | 1 | 4 | 35-40 | |||
69. | Barber, Elinore | Riemenschneider Bach Institute Vault Holdings, Facsimile Series: .. Wegweiser .. Die Kunst die Orgel recht zu schlagen -- A Seventeenth-century Organ Instruction Book, Part I. | Bach | 18 | 1 | 25-36 | |||
70. | Barber, Elinore | Riemenschneider Bach Library Vault Holdings. | Bach | 1 | 4 | 33-34 | |||
71. | Barber, Elinore | Riemenschneider Bach Library Vault Holdings. Bach, Johann Sebastian. Clavier Uebung, Opus 1, 1731; Gasparini, Francesto. L'armonica Practico al Cimbalo.; Bach, Johann Christian. Aria II from Act I, Termistocle. | Bach | 2 | 2 | 22-23 | |||
72. | Barber, Elinore | Riemenschneider Bach Library Vault Holdings [Part I]. | Bach | 1 | 1 | 17-18 | |||
73. | Barber, Elinore | Schweitzer and Bach. | Bach | 32 | 1 | 73-76 | |||
74. | Barber, Elinore; Winzenburger, Janet | Riemenschneider Bach Library vault holdings. Purcell, Henry. Orpheus Britanicus; Handel, George Frederic. Overtures. Scheibe, Johann Adolph. Critischer Musikus [1745]; Gerber, Ernst Ludwig. Lexicon; Bach, J. S. Magnificat in E-flat major. | Bach | 2 | 1 | 35-37 | |||
75. | Barber, Elinore; Winzenburger, Janet | Riemenschneider Bach Library Vault Holdings. | Bach | 1 | 3 | 41-44 | |||
76. | Barber, Elinore; Winzenburger, Janet | Riemenschneider Bach Library Vault Holdings. Bach's Four-Part Chorales. | Bach | 2 | 4 | 15-17 | |||
77. | Barber, Elinore; Winzenburger, Janet | Riemenschneider Bach Library Vault Holdings. Eighteenth-Century French Publications. Choquel, Henri Louis. La Musique rendue sensible par la méchanique ou nouveau systeme pour apprendre facilement la musique soimême, ouvrage utile et curieux nouvelle édition; Monnet, Jean, ed. Anthologie François ou Chansons choisies, Depuis le 13 Siècle jusqu'a présent. | Bach | 3 | 2 | 38-39 | |||
78. | Barber, Elinore; Winzenburger, Janet | Riemenschneider Bach Library Vault Holdings [Part II]. [WK2, BWV 244, 1079] | Bach | 1 | 2 | 17-20 | |||
79. | Bates, William H. | J. S. Bach's Fantasy and Fugue in G Minor, BWV 542: A Source Study for Organists. | Bach | 39 | 2 | 1-89 | |||
80. | Baumgartner, Michael | J. S. Bach, Jean-Luc Godard, and the Reimagining of the Immaculate Conception in Hail Mary (1985). Bach on Screen. | Bach | 50 | 2 | 175-219 | |||
81. | Baumgartner, Nicholas | Currents in Bach Interpretation in Contemporary Germany. | Bach | 30 | 2 | 1-26 | |||
82. | Baumgartner, Nicholas | European Bach Interpretation at the Turn of the Millennium. | Bach | 33 | 1 | 1-56 | |||
83. | Benedum, Richard | Structure and Symbolism in Bach's Prelude and Fugue in E-flat, BWV 552. | Bach | 10 | 4 | 19-24 | |||
84. | Benitez, Vincent P. | Musical-Rhetorical Figures in the Orgelbüchlein of J. S. Bach. [BWV 606, 614, 615, 625, 637, 644] | Bach | 18 | 1 | 3-21 | |||
85. | Boe, John | Fully Notated Articulation in Bach's Mature Keyboard Music. | Bach | 7 | 1 | 12-19 | |||
86. | Boe, John | Fully Notated Articulation in Bach's Mature Keyboard Music -- Part II. | Bach | 7 | 2 | 14-22 | |||
87. | Boer, Bertil Herman van Jr. | Observations on Bach's Use of the Horn. | Bach | 11 | 2 | 21-28 | |||
88. | Boer, Bertil H. van, Jr. | Observations on Bach's Use of the Horn. | Bach | 11 | 3 | 9-23 | |||
89. | Bolduan, Miriam F. | The Significance of the Viola Pomposa in the Bach Cantatas. | Bach | 14 | 3 | 12-17 | |||
90. | Bostrom, Kerry L. | The Use of Recitative and the Communal Style in the Solo Cantatas of Dietrich Buxtehude. | Bach | 17 | 3 | 22-32 | |||
91. | Botwinick, Sara | From Ohrdruf to Mühlhausen: A Subversive Reading of Bach's Relationship to Authority. Errata in Bach xxxvi/2 (2005), p.123. | Bach | 35 | 2 | 1-59 | |||
92. | Braunlich, Helmut | Johann Peter Kellner's Copy of the Sonatas and Partitas for Violin Solo by J. S. Bach. | Bach | 12 | 2 | 2-10 | |||
93. | Brill, Mark | The Consecration of the Marginalized: Pasolini's Use of J. S. Bach in Accattone (1961) and Il Vangelo Secondo Matteo (1964). Bach on Screen. | Bach | 50 | 2 | 220-253 | |||
94. | Brody, Christopher | Teaching Bach's Binary Forms. Roundtable: Bach in the Music Theory Classroom | Bach | 49 | 2 | 281-310 | |||
95. | Brokaw, James A., II | Recent Research on the Sources and Genesis of Bach's Well-tempered Clavier, Book II. | Bach | 16 | 3 | 17-35 | |||
96. | Broman, Per F. | Another Woody: J. S. Bach in Dixieland. Bach on Screen. | Bach | 50 | 2 | 254-274 | |||
97. | Brown, Emily Freeman | Zarathustra. Reflection of the Baroque Overture. | Bach | 26 | 1-2 | 84-90 | |||
98. | Brown-Montesano, Kristi | Terminal Bach: Technology, Media, and the Goldberg Variations in Postwar American Culture. Bach on Screen. | Bach | 50 | 1 | 81-117 | |||
99. | Buelow, George J. | A Bach Borrowing by Gluck: Another Frontier. | Bach | 22 | 1 | 43-61 | |||
100. | Butler, Gregory G. | J. S. Bach's Einige Canonische Veraenderungen: The View from the Original Print. | Bach | 20 | 2 | 4-37 | |||
101. | Butler, Gregory G. | J. S. Bach's 'Hudemann' Canon, BWV 1074: A Note on the Engraving and Printing History. | Bach | 25 | 1 | 5-10 | |||
102. | Butler, Gregory G. | The Galant Style in J. S. Bach's Musical Offering: Widening the Dimensions. | Bach | 33 | 1 | 57-68 | |||
103. | Butler, H. Joseph | A Newly Discovered Work of Charles Theodore Pachelbel. | Bach | 28 | 1-2 | 126-144 | |||
104. | Butler, Lynn Edwards | Four Sources Relating to Bach, Organ Builder Johann Scheibe, and the Organs in Zschortau and Stötteritz. | Bach | 44 | 2 | 1-5 | |||
105. | Butler, Lynn Edwards | Johann Christoph Bach's New Organ for Eisenach's Georgenkirche. | Bach | 35 | 1 | 42-60 | |||
106. | Butt, John | Leonhardt's Role in the Invention of Historically Informed Performance. | Bach | 48 | 2 and 49/1 | 9-12 | |||
107. | Byros, Vasili | Thinking in Bach's Language, Teaching in His Shoes: How the Thomaskantor Structured My Syllabus as a Modern-Day Notenbüchlein or Zibaldone. Roundtable: Bach in the Music Theory Classroom | Bach | 49 | 2 | 175-204 | |||
108. | Carrier-McClimon, Carolyn | Hearing the 'Töne eines Passionliedes' in J. S. Bach's Christmas Oratorio: The Nineteenth-Century Critical Reception of BWV 248. | Bach | 45 | 2 | 34-67 | |||
109. | Chobanian, Loris Ohannes (ed.) | FANTASIA For Organ Duo / 'Bach - Riemenschneider' [Special insert] | Bach | 44 | 2 | 21p | |||
110. | Clement, Albert | On the Inner Correlation of the Six Chorales BWV 645-650 and its Significance. | Bach | 34 | 2 | 1-62 | |||
111. | Cole, Warwick | Improvisation as a Stimulus to Composition in Bach's Partita II. [BWV 826] | Bach | 31 | 1 | 96-112 | |||
112. | Collins, Denis | Bach and Approaches to Canonic Composition in Early Eighteenth-Century Theoretical and Chamber Music Sources. | Bach | 30 | 2 | 27-48 | |||
113. | Collins, Denis | Bach's Occasional Canon BWV 1073 and 'Stacked' Canonic Procedure in the Eighteenth Century. | Bach | 33 | 2 | 15-34 | |||
114. | Collins, Denis | From Bull to Bach: In Search of Precedents for the 'Complete' Version of the Canon by Augmentation and Contrary Motion in J. S. Bach's Musical Offering. | Bach | 38 | 2 | 39-63 | |||
115. | Collins, Denis | Historical Precedents for Bach's Evolutio Canon BWV 1087/10. | Bach | 24 | 1 | 5-14 | |||
116. | Collins, Denis | Musical Terminology in the Canonic Works of Bach: An Historical Context. | Bach | 26 | 1-2 | 91-101 | |||
117. | Collins, Denis | Taneyev's Theories of Movable Counterpoint and the Music of J. S. Bach. | Bach | 46 | 2 | 22-45 | |||
118. | Collins, Timothy | Observations on the Origins and Influences Leading to Bach's Idiomatic Writing for the Trumpet in Grosser Herr o starker König from the Christmas Oratorio. Notizbuch für Studenten. | Bach | 17 | 2 | 31-45 | |||
119. | Collins, Timothy A. | Gottfried Reiche: A More Complete Biography. | Bach | 19 | 3 | 4-18 | |||
120. | Corlis, Timothy | Analysis of Spectra in J. S. Bach's Prelude and Fugue, BWV 552. | Bach | 37 | 1 | 26-49 | |||
121. | Corneilson, Paul | C. P. E. Bach's Evangelist: Johann Heinrich Michel. | Bach | 41 | 2 | 1-23 | |||
122. | Corrao, Timothy | C. P. E. Bach's Clavier Quartet in A Minor, Wotquenne 93, Part I. | Bach | 12 | 4 | 17-21 | |||
123. | Corrao, Timothy | C. P. E. Bach's Clavier Quartet in A Minor, Wotquenne 93, Part II. | Bach | 13 | 2 | 23-27 | |||
124. | Cortens, Evan | 'Durch die Music gleichsam lebendig vorgestellet': Graupner, Bach, and Mein Herz schwimmt im Blut. | Bach | 46 | 1 | 74-110 | |||
125. | Coul, Thomas Op de | The Augmentation Canon in J. S. Bach's Musicalisches Opfer. | Bach | 37 | 1 | 50-77 | |||
126. | Cowart, Georgia | Symbolic Correspondence in the Duets of Bach's Mass in B Minor, Part I. | Bach | 15 | 1 | 17-24 | |||
127. | Cowart, Georgia | Symbolic Correspondence in the Duets of Bach's Mass in B Minor, Part II. | Bach | 15 | 2 | 18-25 | |||
128. | Cox, Howard H. | Bach's Conception of His Office. | Bach | 20 | 1 | 22-30 | |||
129. | Cox, Howard H. | The Scholarly Detective: Investigating Bach's Personal Bible. | Bach | 25 | 1 | 28-45 | |||
130. | Cox, Howard H. | The Text Selection Process in Handel's Chandos Anthems. | Bach | 24 | 1 | 21-34 | |||
131. | Crean, Elise | G. H. Stölzel's Practischer Beweiss: A Hitherto Unconsidered Source for J. S. Bach's Fourteen Canons. | Bach | 40 | 2 | 1-21 | |||
132. | Crist, Stephen A. | Bach, Theology, and Harmony: A New Look at the Arias. | Bach | 27 | 1 | 1-30 | |||
133. | Crist, Stephen A. | Johann Philipp Bach and the Aria Scotese con Variazzione: Twilight of the Bach Dynasty? BACH and the Riemenschneider Bach Institute. | Bach | 51 | 2 | 186-209 | |||
134. | Crist, Stephen A. | What Did Johann Ludwig Krebs Learn about Arias from his Teacher, Johann Sebastian Bach? | Bach | 46 | 2 | 46-58 | |||
135. | Currie, Randolph N. | A Neglected Guide to Bach's Use of Number Symbolism -- Part I. [Headings: The Controversy; Bach's Overt Gesture; Symbolic Associations of '84'; The Central Position of the Word factorem] | Bach | 5 | 1 | 23-32 | |||
136. | Currie, Randolph N. | A Neglected Guide to Bach's Use of Number Symbolism -- Part II. Notizbuch für Studenten. | Bach | 5 | 2 | 36-49 | |||
137. | Currie, Randolph N. | A Neglected Guide to Bach's Use of Number Symbolism -- Part III. | Bach | 5 | 3 | 3-12 | |||
138. | Currie, Randolph N. | A Neglected Guide to Bach's Use of Number Symbolism -- Part IV. | Bach | 5 | 4 | 3-8 | |||
139. | Currie, Randolph N. | Bach's Newly Discovered Canons in a First Edition: Some Observations. | Bach | 8 | 2 | 15-22 | |||
140. | Currie, Randolph N. | Bach's Newly Discovered Canons in a First Edition: Some Observations, Part II. | Bach | 8 | 3 | 3-12 | |||
141. | Currie, Randolph N. | Bach's Newly Discovered Canons in a First Edition: Some Observations, Part III. | Bach | 8 | 4 | 3-9 | |||
142. | Currie, Randolph N. | Cyclic Unity in Bach's Sechs Chorale: A New Look at the 'Schüblers,' Part I. Notizbuch für studenten. | Bach | 4 | 1 | 26-38 | |||
143. | Currie, Randolph N. | Cyclic Unity in Bach's Sechs Chorale: A New Look at the 'Schüblers,' Part II. Notizbuch für Studenten. | Bach | 4 | 2 | 25-39 | |||
144. | Cypess, Rebecca | Ancient Poetry, Modern Music, and the Wechselgesang der Mirjam und Debora: The Meanings of Song in the Itzig Circle. | Bach | 47 | 1 | 21-65 | |||
145. | Dadelsen, Georg von | Friedrich Smend's Edition of the B-minor Mass by J. S. Bach. Trans. by James A. Brokaw II. | Bach | 20 | 2 | 49-74 | |||
146. | David, Hans T. | Bach Analyses: J. S. Bach's Fugue in E minor from The Well-tempered Clavier, Book I. | Bach | 2 | 3 | 15-16 | |||
147. | David, Hans T. | Bach Analyses. J. S. Bach's Prelude in E minor from The Well-tempered Clavier, Book 1. | Bach | 2 | 2 | 18-19 | |||
148. | David, Hans T. | Bach Form -- A Letter and Ground-Plan. | Bach | 1 | 2 | 14-17 | |||
149. | David, Hans T. | Bach Form: Ground Plans by the Late Professor Hans T. David. Aria mit 30 Variationen (Goldberg Variations) -- J. S. Bach [1742]. | Bach | 1 | 1 | 15-16 | |||
150. | David, Hans T. | Bach's Problems and Artistic Creed. | Bach | 1 | 2 | 6-13 | |||
151. | David, Hans T. | Deceptive Performance Traditions. (1926) (English Translation by Alfred Mann.) [repr. of Bach xxi/2 (Summer 1990)] | Bach | 25 | 2 | 36-53 | |||
152. | David, Hans T. | Deceptive Performance Traditions. (1926) English Translation by Alfred Mann. | Bach | 21 | 2 | 15-22 | |||
153. | David, Hans T. | Hebrew Letters in Polyphonic Settings by Christian Composers. | Bach | 2 | 2 | 6-17 | |||
154. | David, Hans T. | Johann Sebastian Bach's Great Mass. A Brief Introduction to the Ground Plan Charts and Illustrations. | Bach | 2 | 1 | 29-32 | |||
155. | David, Hans T. | Litterae ab musicis. Hans David Disclaims the Authenticity of a 'Bach Holograph'. | Bach | 1 | 4 | 31-32 | |||
156. | David, Hans T. | Litterae ab musicis: Hans T. David Writes Concerning The Editing of Early Music. | Bach | 2 | 3 | 17-20 | |||
157. | David, Hans T. | Litterae ab musicis. [Letter to Alfred Einstein] [BWV 1079, 1080] | Bach | 2 | 1 | 33-34 | |||
158. | David, Hans T. | Music History - A Teaching, Learning, Performing Experience. Notizbuch für Studenten. | Bach | 2 | 3 | 28-32 | |||
159. | David, Hans T. | Structures of Some Composite Works of the Seventeenth and Eighteenth Centuries. | Bach | 1 | 4 | 28-30 | |||
160. | David, Hans T. | The art of the Fugue. | Bach | 1 | 3 | 5-21 | |||
161. | David, Hans T. | The Original Titles of Bachs Works. | Bach | 1 | 1 | 5-14 | |||
162. | David, Hans T. | The Six-Four Chord Without Theory: An 'Unofficial' History. | Bach | 2 | 3 | 7-14 | |||
163. | David, Hans T. | The Six-Four Chord Without Theory: An 'Unofficial' History, Part II. | Bach | 2 | 4 | 3-9 | |||
164. | David, Hans T. | Trugerische Aufführungstraditionen. [Original Text] | Bach | 21 | 2 | 23-30 | |||
165. | David, Hans T. | What every graduate student should know. Notenbuch vor Schülern. | Bach | 2 | 2 | 27-30 | |||
166. | Davis, Stacey | Teaching Rhythm and Meter with the Moto Perpetuo Movements from Bach's Unaccompanied Instrumental Works. Roundtable: Bach in the Music Theory Classroom | Bach | 49 | 2 | 311-329 | |||
167. | Dirksen, Pieter | Georg Böhm's Keyboard Music> Questions of Authorship and Connections with the Music of J. S. Bach. | Bach | 48 | 2 and 49/1 | 93-115 | |||
168. | Doll, Christopher | Beginnings for Beginners: A Pedagogy for Starting a Prelude. Roundtable: Bach in the Music Theory Classroom | Bach | 49 | 2 | 248-265 | |||
169. | Dupré, Marcel | Litterae ab musicis. Marcel Dupre Writes to Albert Riemenschneider. | Bach | 3 | 2 | 31-32 | |||
170. | Dürr, Alfred | The Historical Background of the Composition of Johann Sebastian Bach's Clavier Suite, Part I. | Bach | 13 | 4 | 2-7 | |||
171. | Dürr, Alfred | The Historical Background of the Composition of Johann Sebastian Bach's Clavier Suite, Part I. [repr. from Bach xiii/4 (Oct 1982)] | Bach | 16 | 1 | 53-58 | |||
172. | Dürr, Alfred | The Historical Background of the Composition of Johann Sebastian Bach's Clavier Suite, Part II. | Bach | 14 | 1 | 2-11 | |||
173. | Dürr, Alfred | The Historical Background of the Composition of Johann Sebastian Bach's Clavier Suite, Part II. [repr. from Bach xiv/1 (Jan 1983)] | Bach | 16 | 1 | 59-68 | |||
174. | Dürr, Alfred | Zur Entstehungsgeschichte der Klaviersuiten von Johann Sebastian Bach, I. | Bach | 13 | 4 | 8-13 | |||
175. | Dürr, Alfred | Zur Entstehungsgeschichte der Klaviersuiten von Johann Sebastian Bach, II. | Bach | 14 | 1 | 12-21 | |||
176. | Ebata, Nobuaki; Tomita, Yo; Mills, Ian | Mendelssohn and The Schübler Chorales (BWV 645-650): A New Source found in the Riemenschneider Bach Institute Collection. In Memory of Yoshitake Kobayashi. | Bach | 44 | 1 | 1-45 | |||
177. | Ebert, Robert R. | A Comparison of the Prices of Organs in Bach's Time and the 1980's. | Bach | 19 | 1 | 28-45 | |||
178. | Ebert, Robert R. | Thalers, Patrons, and commerce -- A Glimpse at the Economy in the Times of J. S. Bach. | Bach | 16 | 3 | 37-54 | |||
179. | Edwards, Timothy D. | The Royal Theme's Hidden Symmetry: In Defense of the Concise Solution to the Augmentation Canon in J. S. Bach's Musical Offering. | Bach | 41 | 1 | 1-31 | |||
180. | 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 | |||
181. | Elferen, Isabella van | The Hungry Soul: Communion Mystics and Physiology in J. S. Bach's St. Matthew Passion. | Bach | 40 | 1 | 35-57 | |||
182. | Eller, Rudolf | Thoughts on Bach's Leipzig Creative Years. Translated and annotated by Stephen A. Crist. | Bach | 21 | 2 | 31-54 | |||
183. | Ellis, Mark | Motif and Structure in Bach's Fifth Prelude. | Bach | 37 | 1 | 1-25 | |||
184. | Emans, Reinmar | Stilkritik und Textphilologie im Dienste der 'inneren Chronologie'. Stilkritische Untersuchungen zu ausgewählten Arien Johann Sebastian Bachs. | Bach | 26 | 1-2 | 15-27 | |||
185. | Emans, Reinmar | Stylistic Analysis and Text Philology in the Service of 'Inner Chronology' involving Stylistic Analysis of Selected Arias by Johann Sebastian Bach. | Bach | 26 | 1-2 | 1-14 | |||
186. | Espinosa, Alma | More on the Figured-bass Accompaniment in Bach's Time: Friedrich Erhard Niedt and The Musical Guide. | Bach | 12 | 1 | 13-22 | |||
187. | Exner, Ellen | The Godfather: Georg Philipp Telemann, Carl Philipp Emanuel Bach, and the Family Business. | Bach | 47 | 1 | 1-20 | |||
188. | Fairleigh, James P. | Italian Prototypes of the Baroque Ritornello. | Bach | 14 | 3 | 2-11 | |||
189. | Faulkner, Quentin | Jacob Adlung's 'Musica Mechanica Organoedi' and the 'Bach Organ'. | Bach | 21 | 1 | 42-59 | |||
190. | Flindell, E. Frederick | Apropos Bach's Inventions [Part I] A. Forkel's report | Bach | 14 | 4 | 3-14 | |||
191. | Flindell, E. Frederick | Apropos Bach's Inventions, Part II. B. Athanasius Kircher, Christoph Bernhard, and J. G. Walther. Errata in Bach xv/4, p. 36. | Bach | 15 | 1 | 3-16 | |||
192. | Flindell, E. Frederick | Apropos Bach's Inventions, Part III. C. J.A. Reincken, Andreas Werckmeister, and Meinrad Spiess. | Bach | 15 | 2 | 3-17 | |||
193. | Flindell, E. Frederick | Bach and the Middle Ages. | Bach | 36 | 2 | 1-119 | |||
194. | Flindell, E. Frederick | Bach's Tempos and Rhetorical Applications. Errata is published in Bach, xxx/1 (1999), p.74. | Bach | 28 | 1-2 | 151-236 | |||
195. | Franklin, Don O. | In Memoriam: Martin Petzoldt (13 April 1946--13 March 2015). | Bach | 46 | 1 | 1 | |||
196. | Franklin, Don O. | Notational and Performance Issues in J. S. Bach's Preludes and Fugues for Organ. Listening to and Performing Bach. | Bach | 51 | 2 | 241-258 | |||
197. | Franklin, Don O. | Reading Bachäs Notation: A Guide to the Temporal Structure of the 1733 Missa. | Bach | 48 | 1 | 76-92 | |||
198. | Franklin, Don O. | 'Recht Glauben, Christlig Leben, Seelig Sterben': Johann Olearius and the Libretto of Cantata 67. [BWV 67] | Bach | 46 | 1 | 2-28 | |||
199. | Franklin, Don O. | The Carnegie Manuscript and J. S. Bach. | Bach | 22 | 1 | 5-15 | |||
200. | Franklin, Don O. | Viewing the Poetic Texts in Bach's Matthew Passion from a New Perspective. | Bach | 46 | 1 | 29-48 | |||
201. | Fuhrmann, Christina | Editorial: Tribute to Dr. Elinore L. Barber. | Bach | 51 | 1 | 1-4 | |||
202. | Fülöp, Rebecca | Introduction. Bach on Screen. | Bach | 50 | 1 | 1-4 | |||
203. | Ganz, Beatrice | Problems of Articulation in Baroque Keyboard Music (At the Piano or Organ). [A lecture in series 'Information and Experimentation' at the Basel Music Academy, January 18, 1975.] | Bach | 7 | 2 | 3-13 | |||
204. | Garcia, Federico | The Nature of Bach's Italian Concerto BWV 971. | Bach | 36 | 1 | 1-24 | |||
205. | Geck, Martin | The Ultimate Goal of Bach's Art. Trans. by Alfred Mann. | Bach | 35 | 1 | 29-41 | |||
206. | Getz, Christine Suzanne | A Telemann Concerto for Violin and Strings?: Some Hints on the Reconstruction of an Unidentified Concerto. | Bach | 19 | 2 | 3-24 | |||
207. | Gleason, Harold | A Seventeenth-Century Organ Instruction Book. | Bach | 3 | 1 | 3-12 | |||
208. | Gleason, Harold | A Seventeenth-Century Organ Instruction Book. [Wegweiser die Kunst die Orgel] [repr. of Bach iii/1 (Jan 1972)] | Bach | 12 | 3 | 11-20 | |||
209. | Gleason, Harold | A seventeenth-century Organ Instruction Book. [Wegweiser die Kunst die Orgel recht zu schlagen] [repr. of Bach iii/1 (Jan 1972), again repr. of Bach xii/3 (Jul 1981) with added facsimile images.] | Bach | 27 | 2 | 60-83 | |||
210. | Glöckner, Andreas | Alumni and Externals in the Choirs of the Thomas School during Bach's Time. Trans. Sabine Thomas | Bach | 40 | 1 | 1-34 | |||
211. | Goldstein, Michael | In Tokyo: A Little-Known Bach Autograph. [BWV 1006a] (Translated from the German by George A. Kochevitsky of New York City.) | Bach | 9 | 2 | 33-36 | |||
212. | Grant, Jason B. | The Origins of the Aria 'Ich folge dir, verklärter Held' and the Recurring Chorus 'Triumph!' from the Oratorio Die Auferstehung und Himmelfahrt Jesu by Carl Philipp Emanuel Bach. Errata in Bach xlv/1 (2014), pp.101-103 | Bach | 44 | 2 | 6-24 | |||
213. | Greer, Mary | 'Denn er ist unser Friede' ['For He is our peace']: The Significance of the Marking 'Due Chori in unisono' in the Autograph Score of J. S. Bach's St. Matthew Passion. | Bach | 45 | 1 | 44-89 | |||
214. | Greer, Mary | Embracing Faith: The Duet as Metaphor in Selected Sacred Cantatas by J. S. Bach. | Bach | 34 | 1 | 1-71 | |||
215. | Greer, Mary | Masonic Allusions in the Dedications of two Canons by J. S. Bach: BWV 1078 and 1075. | Bach | 43 | 2 | 1-45 | |||
216. | Greer, Mary | The Secret Subscribers to C. P. E. Bach's Oratorio Die Israeliten in der Wüste: The Masonic Connection. | Bach | 47 | 2 | 77-94 | |||
217. | Göncz, Zoltán | The Sacred Codes of the Six-Part Ricercar. Trans. Péter Laki. [BWV 1079] | Bach | 42 | 1 | 46-69 | |||
218. | Haldey, Olga | Voice of the Dance: J. S. Bach and Other Classics in the Maksimova-Vasiliev Film Fouetté (1986). Bach on Screen. | Bach | 50 | 2 | 136-174 | |||
219. | Hammel, Marla | The Figured-bass Accompaniment in Bach's Time: A Brief Summary of Its Development and An Examination of Its Use, Together With a Sample Realization, Part I. | Bach | 8 | 3 | 26-31 | |||
220. | Hammel, Marla | The Figured-bass Accompaniment in Bach's Time: A Brief Summary of Its Development and An Examination of Its Use, Together With a Sample Realization, Part II. | Bach | 9 | 1 | 30-36 | |||
221. | Hammel, Marla | The Figured-bass Accompaniment in Bach's Time: A Brief Summary of Its Development and An Examination of Its Use, Together With a Sample Realization, Part III. | Bach | 9 | 2 | 37-39 | |||
222. | Harmon, Thomas | The Mühlhausen Organ Revisited. Precious Clues to Bach's Preference in Organ Design and Registration. [repr. of Bach iv/1 (Jan 1973)] | Bach | 26 | 1-2 | 57-69 | |||
223. | Harmon, Thomas | The Mühlhausen Organ Revisited. Precious Clues to Bach's Preference in Organ Design and Registration. | Bach | 4 | 1 | 3-15 | |||
224. | Harriss, Ernest | A Chronology of the Works of Johann Sebastian Bach. Part I. | Bach | 11 | 2 | 2-20 | |||
225. | Harriss, Ernest | A Chronology of the Works of Johann Sebastian Bach. Part II. | Bach | 11 | 3 | 2-8 | |||
226. | Harriss, Ernest | A Chronology of the Works of Johann Sebastian Bach. Part III. | Bach | 11 | 4 | 3-7 | |||
227. | Harriss, Ernest C. | J. F. Agricola's Anleitung zur Singkunst: A Rich Source by a Pupil of J. S. Bach. | Bach | 9 | 3 | 2-8 | |||
228. | Heinrich, Adel | A Collation of the Expositions in Die Kunst der Fuge of J. S. Bach. | Bach | 12 | 2 | 28-40 | |||
229. | Heinrich, Adel | Heretofore Unpublished Conclusions for the 'Incomplete' Quadruple Fugue (Die Kunst der Fuge) Project. Part I: Adel Heinrich's 1986 Contribution. | Bach | 17 | 4 | 30-41 | |||
230. | Heinrich, Adel | Significance of the Original Subject and Its Variants in Bach's Die Kunst der Fuge. | Bach | 15 | 3 | 24-32 | |||
231. | Herford, Julius | Bach's Models of 'Good Inventiones' -- How to Develop the Same Well. [Headings are: Overall Form; Dove-tailed Cadences; Consistent Sixteenth-Note Motion; Inner Cadences; Harmonic Rhythm] | Bach | 4 | 1 | 16-20 | |||
232. | Herford, Julius | Bach's Models of 'Good Inventiones'. [Part I]. | Bach | 2 | 4 | 10-14 | |||
233. | Herford, Julius | Bach's Models of 'Good Inventiones'. Part II. | Bach | 3 | 1 | 27-30 | |||
234. | Herford, Julius | Bach's Models of 'Good Inventiones'. Part III. | Bach | 3 | 2 | 28-30 | |||
235. | Herford, Julius | J. S. Bach's Fugue II in C Minor (The Well-Tempered Clavier, Book 1): An Analysis. [Headings: The Fugue Theme; The Form as a Whole; Ternary Devision; Binary Division; The Metrical Structure of the Whole] | Bach | 4 | 3 | 36-40 | |||
236. | Herford, Julius | The C-Major and C-Minor Preludes of the Well-tempered Clavier, Book 1. | Bach | 4 | 2 | 17-21 | |||
237. | Herz, Gerhard | A Bach Signature in the Possession of Gerhard Herz. | Bach | 9 | 4 | 23-24 | |||
238. | Herz, Gerhard | Lombard Rhythm in the Domine Deus of Bach's B minor Mass: An Old Controversy Resolved. | Bach | 8 | 1 | 3-11 | |||
239. | Herz, Gerhard | The Story behind Alfred Dürr's 'Capriccio'. [Fictional Anecdote 'Capriccio sopra la lontananza dell' ipotesi dilettissimo] | Bach | 21 | 3 | 4-8 | |||
240. | Herz, Gerhard | Toward a New Image of Bach. [repr. of Bach i/4 (Oct 1970) and ii/1 (Jan 1971)] | Bach | 16 | 1 | 12-52 | |||
241. | Herz, Gerhard | Toward a New Image of Bach. [Part I.] | Bach | 1 | 4 | 9-27 | |||
242. | Herz, Gerhard | Toward a New Image of Bach. Part II. | Bach | 2 | 1 | 7-28 | |||
243. | Herz, Gerhard | Yoshitake Kobayashi's Article 'On the Chronology of the last phase of Bach's Work - Compositions and Performances: 1736 to 1750' - An Analysis with Translated Portions of the Original Text. | Bach | 21 | 1 | 3-25 | |||
244. | [Hewlett, Walter B.] | Riemenschneider Bach Institute Library, Facsimile Series: Vermehrter ... Wegweiser... die Kunst die Orgel recht zu schlagen. Part I, Continued: Walter B Hewlett's English Translations of the Eight Wegweiser Pages Previously Printed in the January 1987 BACH Journal together with BACH Editorial Notes Including Minor Differences between the 1692 and 1698 Wegweiser Editions, and Dr. Hewlett's Explanatory Notes. | Bach | 18 | 2 | 4-35 | |||
245. | [Hewlett, Walter B.] | Riemenschneider Bach Institute Library, Facsimile Series: Vermehrter ... Wegweiser... die Kunst die Orgel recht zu schlagen. Part II: 'Introductory Remarks' from Walter B Hewlett's Vermehrter ... Wegweiser of 1698 and the 1692 Wegweiser Pages 9-14 Published in Tandem with Dr. Hewlett's Translation and Explanatory Notes and BACH Editorial Notes Indicating Minor Differences between the 1692 and 1698 Wegweiser Editions. | Bach | 18 | 2 | 37-63 | |||
246. | [Hewlett, Walter B.] | Riemenschneider Bach Institute Library, Facsimile Series: Vermehrter ... Wegweiser... die Kunst die Orgel recht zu schlagen. (Part III). The 1692 Wegweiser, Pages 15-21 Published in Tandem with Dr. Hewlett's Translation and Explanatory Notes and Editorial Footnotes Indicating Minor Differences between the 1692 and 1698 Wegweiser Editions. | Bach | 18 | 3 | 11-37 | |||
247. | [Hewlett, Walter B.] | Riemenschneider Bach Institute Library, Facsimile Series: Vermehrter ... Wegweiser... die Kunst die Orgel recht zu schlagen. (Part IV). The 1692 Wegweiser, Pages 22-29 Published in Tandem with Dr. Hewlett's Translation and Explanatory Notes and Editorial Footnotes Indicating Minor Differences between the 1692 and 1698 Wegweiser Editions. | Bach | 18 | 4 | 29-54 | |||
248. | [Hewlett, Walter B.] | Riemenschneider Bach Institute Library. Facsimile Series: Vermehrter...Wegweiser... die Kunst die Orgel recht zu schlagen (Part V). The 1692 Wegweiser, Pages 30-48 Published in Tandem with Dr. Walter Hewlett's 1698 Translations and Explanatory Notes and Editorial Footnotes Indicating Minor Differences between the 1692 and 1698 Wegweiser Editions. | Bach | 19 | 2 | 25-56 | |||
249. | [Hewlett, Walter B.] | Riemenschneider Bach Institute Library. Facsimile Series: Vermehrter...Wegweiser... die Kust die Orgel recht zu schlagen. The 1692 Wegweiser, Pages 41-48 Published in Tandem with Dr. Walter Hewlett's 1698 Translations and Explanatory Notes and Editorial Footnotes Indicating Minor Differences between the 1692 and 1698 Wegweiser Editions Together with Dr. Hewlett's Translation of Carissimi's Ars Cantandi, 1696 Edition (Published with the 1698 Wegweiser) | Bach | 19 | 3 | 19-74 | |||
250. | Hirsch, Artur | Johann Sebastian Bach's Cantatas in Chronological Order. See also 'A Clarification' in Bach iv/4 (1973), p.36. | Bach | 4 | 3 | 18-35 | |||
251. | Hirsch, Artur | Number Symbolism in Bach's First Cantata Cycle: 1723-1724 -- Part I. | Bach | 6 | 3 | 11-19 | |||
252. | Hirsch, Artur | Number Symbolism in Bach's First Cantata Cycle: 1723-1724 -- Part II. | Bach | 6 | 4 | 14-19 | |||
253. | Hirsch, Artur | Number Symbolism in Bach's First Cantata Cycle: 1723-1724 -- Part III. | Bach | 7 | 1 | 27-32 | |||
254. | Hoag, Melissa | On Relevance and Repertoire in the Eighteenth-Century Counterpoint Classroom Roundtable: Bach in the Music Theory Classroom | Bach | 49 | 2 | 388-401 | |||
255. | Hochreither, Karl | Some Reflections on the Performance of Bach's Vocal-Instrumental Works. | Bach | 8 | 2 | 2-14 | |||
256. | Inman, Samantha M. | Introduction to Graduate Theory: Teaching Tonal Hierarchy through Bach. Roundtable: Bach in the Music Theory Classroom | Bach | 49 | 2 | 345-364 | |||
257. | Irwin, Joyce | The Orthodox Lutheranism of Mattheson and Bach. | Bach | 42 | 1 | 70-83 | |||
258. | Ishii, Akira | Johann Sebastian Bach, Carl Philipp Emanuel Bach, and Johann Jacob Froberger: The Dissemination of Froberger's Contrapuntal Works in Late Eighteenth-Century Berlin. | Bach | 44 | 1 | 46-133 | |||
259. | Jenne, Natalie | Bach's Use of Dance Rhythms in Fugues. [I] | Bach | 4 | 4 | 18-26 | |||
260. | Jenne, Natalie | Bach's Use of Dance Rhythms in Fugues. Part II. | Bach | 5 | 1 | 3-8 | |||
261. | Jenne, Natalie | Bach's Use of Dance Rhythms in Fugues: Part III. | Bach | 5 | 2 | 3-21 | |||
262. | Jenne, Natalie | On the Performance of Keyboard Allemandes. | Bach | 10 | 2 | 13-30 | |||
263. | Jerold, Beverly | Bach's Lament about Leipzig's Professional Instrumentalists. | Bach | 36 | 1 | 67-96 | |||
264. | Jerold, Beverly | Editorial Decisions for Ornaments in Bach's Works. | Bach | 33 | 2 | 1-14 | |||
265. | Jerold, Beverly | Fasch and the Beginning of Modern Artistic Choral Singing. | Bach | 35 | 1 | 61-86 | |||
266. | Jerold, Beverly | Johann Philipp Kirnberger and the Bach Chorale Settings. | Bach | 45 | 1 | 34-43 | |||
267. | Jerold, Beverly | [On Gertrud Schmeling Mara.] Letter to the Editor. | Bach | 36 | 2 | 120-122 | |||
268. | Jerold, Beverly | Pitch in the Vocal Works of J. S. Bach. | Bach | 31 | 1 | 74-95 | |||
269. | Jerold, Beverly | The Bach-Scheibe Controversy: New Documentation. | Bach | 42 | 1 | 1-45 | |||
270. | Johnson, Paul | Tempo Relation in a Class of Keyboard Compositions from Sweelinck to Bach. | Bach | 18 | 4 | 4-28 | |||
271. | Joseph, Charles M. | Some Revisional Aspects of Bach's Keyboard Partitas, BWV 827 and 830. | Bach | 9 | 2 | 2-16, 25-27 | |||
272. | Kellner, Herbert Anton | A Mathematical Approach Reconstituting J. S. Bach's Keyboard-Temperament. Dedicated to the composer Bernard Schulé of Geneva on the occasion of his 70th birthday. | Bach | 10 | 4 | 2-8 | |||
273. | Kellner, Herbert Anton | A Mathematical Approach Reconstructing J. S. Bach's Keyboard Temperament. [repr. of Bach x/4 (Oct 1979) with a slightly modified title.] | Bach | 30 | 1 | 1-9 | |||
274. | Kellner, Herbert Anton | Considering the Tempering Tonality B-Major in Well-Tempered Clavier II. | Bach | 30 | 1 | 10-25 | |||
275. | Kellner, Herbert Anton | Kepler, Bach, and Gauss: The Celestial Harmony of the Earth's Motion. | Bach | 25 | 1 | 46-56 | |||
276. | Kennelly, Laura | In Memoriam: Elinore Louise Barber (June 3, 1919-March 26, 2013) | Bach | 44 | 1 | 134 | |||
277. | Kennelly, Laura | The Willard Palmer Collection at the Riemenschneider Bach Institute. | Bach | 34 | 1 | 72-89 | |||
278. | Kilgore, Edna | Time Signatures of the Well-Tempered Clavier: Their Place in Notational History. | Bach | 4 | 2 | 3-16 | |||
279. | Kobayashi, Yoshitake | Universality in Bach's B Minor Mass: A Portrait of Bach in His Final Years. (In Memoriam Dietrich Kilian.) Translated by Jeffrey W. Baxter. | Bach | 24 | 2 | 3-25 | |||
280. | Kochevitsky, George A. | More on Articulation in J. S. Bach's Keyboard Music. From Our Readers. | Bach | 8 | 1 | 25-29 | |||
281. | Kochevitsky, George A. | Performing Bach's Keyboard Music: Articulation. See also 'A Correction', Bach iv/1 (1973), p.36. | Bach | 4 | 1 | 21-25 | |||
282. | Kochevitsky, George A. | Performing Bach's Keyboard Music: Dynamics. A Postscript. | Bach | 7 | 1 | 3-11 | |||
283. | Kochevitsky, George A. | Performing Bach's Keyboard Music -- Embellishments. Part I | Bach | 5 | 3 | 37-40 | |||
284. | Kochevitsky, George A. | Performing Bach's Keyboard Music -- Embellishments. Part I (Continued). [Headings: Bach's 'Table of Ornaments'; Ornamental Differences in Various Bach Editions] [Contents' page says 'Part II' instead of 'Part I (Continued)'] | Bach | 5 | 4 | 25-30 | |||
285. | Kochevitsky, George A. | Performing Bach's Keyboard Music -- Embellishments, Part III, The Trill. Errata in Bach vi/3 (July 1975), p.40. | Bach | 6 | 1 | 24-35 | |||
286. | Kochevitsky, George A. | Performing Bach's Keyboard Music -- Embellishments, Part IV, The Appoggiatura. | Bach | 6 | 2 | 27-40 | |||
287. | Kochevitsky, George A. | Performing Bach's Keyboard Music -- Embellishments, Part V, Acciaccaturas and Broken Chords. Part VI, Mordents and Inverted Mordents. | Bach | 6 | 3 | 20-35 | |||
288. | Kochevitsky, George A. | Performing Bach's Keyboard Music -- Embellishments, Part VII, The Turn and the Slide. Part VIII, Compound Ornaments. Part IX, Additional Remarks. | Bach | 6 | 4 | 23-29 | |||
289. | Kochevitsky, George A. | Performing Bach's Keyboard Music -- Notes Inégales: A Brief History and a Summary. [Headings: Origins and Definitions; Renewed Interest in the Problem; Bach and the Techniques of Inequality; Conclusions and Suggestions] | Bach | 4 | 4 | 27-35 | |||
290. | Kochevitsky, George A. | Performing Bach's Keyboard Music -- Phrasing. | Bach | 3 | 4 | 28-32 | |||
291. | Kochevitsky, George A. | Performing Bach's Keyboard Music: Tempo. | Bach | 4 | 2 | 22-24 | |||
292. | Kochevitsky, George A. | Performing Bach's Keyboard Music -- The Choice of an Instrument. | Bach | 3 | 2 | 33-37 | |||
293. | Konecni, Vladimir J.; [Koneèni] | Bach's St. Matthew Passion: A Rudimentary Psychological Analysis, Part I. | Bach | 17 | 3 | 10-21 | Latin 2 | ||
294. | Konecni, Vladimir J.; [Koneèni] | Bach's St. Matthew Passion: A Rudimentary Psychological Analysis, Part II. | Bach | 17 | 4 | 3-16 | Latin 2 | ||
295. | Koopman, Ton | Gustav Leonhardt as a Teacher. | Bach | 48 | 2 and 49/1 | 44-47 | |||
296. | Kordes, Gesa | Self-Parody and the 'Hunting-Cantata,' BWV 208 - An Aspect of Bach's Compositional Process. | Bach | 22 | 2 | 35-57 | |||
297. | Korsyn, Kevin | Composition Lessons with Bach. Roundtable: Bach in the Music Theory Classroom | Bach | 49 | 2 | 227-247 | |||
298. | Krenek, Ernst | Parvula Corona Musicalis. | Bach | 2 | 4 | 18-31 | |||
299. | Krenek, Ernst | Postscript to the 'Parvula Corona' | Bach | 3 | 3 | 21-26 | |||
300. | Kroeger, Karl | Johann Sebastian Bach in Nineteenth-Century America. | Bach | 22 | 1 | 33-42 | |||
301. | Kupfer, Peter | 'Good Hands': The Music of J. S. Bach in Television Commercials. Bach on Screen. | Bach | 50 | 2 | 275-302 |
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