Bach Bibliography Search Result - Ordered Chronologically

Series : [ce]BaroqueComposers
Year : 2011
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Type	List	Author: Title, Series, Vol/No (Year/Month/Date of Publication), Pages	Status
	1.	Schulze, Hans-Joachim:   Johann Christoph Bach (1671-1721), 'Organist und Schul Collega in Ohrdruf', Johann Sebastian Bachs erster Lehrer [ce]BaroqueComposers (2011), 3-29. Repr. from Bach-Jahrbuch, lxxi (1985), pp. 55-81.
	2.	Junghans, Wilhelm Ch.:   Johann Sebastian Bach als Schüler der Partikularschule zu St. Michaelis in Lüneburg, oder Lüneburg eine Pflegstätte kirchlicher Musik. [ce]BaroqueComposers (2011), 31-74. Repr. from Programm des Johanneums zu Lüneburg, Ostern 1870, Lüneburg, pp. 1-42.
	3.	Minear, Paul S.:   The Musician Versus the Grammarian: An Early Storm Warning. [ce]BaroqueComposers (2011), 75-86. Repr. from The Bible and the Historian: Breaking the Silence about God in Biblical Studies, Nashville: Abingdon Press (2002), pp. 25-36; 264-265.
	4.	Buelow, George J.:   In Defence of J. A. Scheibe against J. S. Bach. [ce]BaroqueComposers (2011), 87-102. Repr. from Proceedings of Royal Music Association, ci (1974-75), pp. 85-100
	5.	Trautmann, Christoph:   J. S. Bach: new Light on His Faith. [ce]BaroqueComposers (2011), 103-114. Repr. from Concordia Theological Monthly, xlii/2 (1971), pp. 88-99
	6.	Leaver, Robin A.:   Motive and Motif in the Church Music of Johann Sebastian Bach. [ce]BaroqueComposers (2011), 115-124. Repr. from Theology Today, lxiii/1 (2006), pp. 38-47.
	7.	Dürr, Alfred:   Zum Wandel des Bach-Bildes. Zu Friedrich Blumes Mainzer Vortrag. [ce]BaroqueComposers (2011), 127-134. Repr. from Musik und Kirche, xxxii/4 (1962), pp. 145-152.
	8.	Blume, Friedrich:   Antwort von Friedrich Blume. [ce]BaroqueComposers (2011), 135-138. Repr. from Musik und Kirche, xxxii/4 (1962), pp. 153-156.
	9.	Mendel, Arthur:   Persönliches zur Geschichte der Jüngeren Bach-Forschung. ('A Personal Message Concerning the History of Recent Bach Scholarship'). [ce]BaroqueComposers (2011), 139-147. Repr. from Bach, xx/3 (1989), pp.6-14.
	10.	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'. [ce]BaroqueComposers (2011), 149-171. Repr. from Bach, xxi/1 (1990), pp. 3-25.
	11.	Dürr, Alfred:   Bach's Chorale Cantatas. [ce]BaroqueComposers (2011), 175-184. Repr. from Johannes Riedel (ed.), Cantors at the Crossroads. Essay on Church Music in Honor of Walter E. Buszin, St.Louis, Missouri: Concordia Publishing House, (1967), pp. 111-120.
	12.	Hobohm, Wolf:   Neue 'Texte zur Leipziger Kirchen-Music'. [ce]BaroqueComposers (2011), 185-212. Repr. from Bach-Jahrbuch, lix (1973), pp. 5-32.
	13.	Häfner, Klaus:   Der Picander-Jahrgang. [ce]BaroqueComposers (2011), 213-256. Repr. from Bach-Jahrbuch, lxi (1975), pp. 70-113.
	14.	Scheide, William H.:   Bach und der Picander-Jahrgang - Eine Erwiderung. [ce]BaroqueComposers (2011), 257-261. Repr. from Bach-Jahrbuch, lxvi (1980), pp. 47-51.
	15.	Häfner, Klaus:   Picander, der Textdichter von Bachs viertem Kantatenjahrgang. Ein neuer Hinweis. [ce]BaroqueComposers (2011), 263-269. Repr. from Die Musikforschung, xxxv/2 (1982), pp. 156-162.
	16.	Scheide, William H.:   Eindeutigkeit und Mehrdeutigkeit in Picanders Kantatenjahrgangs-Vorbemerkung und im Werkverzeichnis des Nekrologs auf Johann Sebastian Bach. [ce]BaroqueComposers (2011), 271-275. Repr. from Bach-Jahrbuch, lxix (1983), pp. 109-113.
	17.	Mendel, Arthur:   Traces of the pre-history of Bach's St. John and St. Matthew Passions. [ce]BaroqueComposers (2011), 277-294. Repr. from Walter Gerstenberg, Jan La Rue and Wolfgang Rehm (eds), Festschrift Otto Erich Deutsch zum 80. Geburtstag am 5. September 1963, Kassel: Bärenreiter (1963), pp. 31-48.
	18.	Wolff, Christoph:   'Et Incarnatus' and 'Crucifixus': The Earliest and Latest Settings of Bach's B-minor Mass. [ce]BaroqueComposers (2011), 295-305. Repr. from Yo Tomita and Tanja Kovacevic (eds), International Symposium: Understanding Bach's B-minor Mass. Discussion Book 2: Resource Book, Belfast: School of Music and Sonic Arts (2007), pp. 357-367.
	19.	Dadelsen, Georg von:   Friedrich Smend's Edition of the B-minor Mass by J. S. Bach. [ce]BaroqueComposers (2011), 307-327. Repr. from Yo Tomita and Tanja Kovacevic (eds), International Symposium: Understanding Bach's B-minor Mass. Discussion Book 2: Resource Book, Belfast: School of Music and Sonic Arts (2007), 404-424.
	20.	Kobayashi, Yoshitake:   Universality in Bach's B Minor Mass: A Portrait of Bach in His Final Years. [ce]BaroqueComposers (2011), 329-345. Repr. from Yo Tomita and Tanja Kovacevic (eds), International Symposium: Understanding Bach's B-minor Mass. Discussion Book 2: Resource Book, Belfast: School of Music and Sonic Arts (2007), 387-403.
	21.	Dürr, Alfred:   Zur Parodiefrage in Bachs h-Moll-Messe: Eine Bestandsaufnahme. [ce]BaroqueComposers (2011), 347-368. Repr. from Die Musikforschung, xlv/2 (1992), pp. 117-138.
	22.	Schulze, Hans-Joachim:   The Parody Process in Bach's Music: An Old Problem Reconsidered. [ce]BaroqueComposers (2011), 369-383. Repr. from Bach, xx/1 (1989), pp. 7-21.
	23.	Leaver, Robin A.:   Parody and Theological Consistency: Notes on Bach's A-Major Mass. [ce]BaroqueComposers (2011), 385-398. Repr. from Bach, xxi/3 (1990), pp. 30-43.
	24.	Marshall, Robert L.:   Bach the Progressive: Observations on His Later Works. [ce]BaroqueComposers (2011), 399-443. Repr. from Musical Quarterly, lxii/3 (1976), pp. 313-357.
	25.	Neumann, Frederick:   Bach: Progressive or Conservative and the Authorship of the Goldberg Aria. [ce]BaroqueComposers (2011), 445-458. Repr. from Musical Quarterly, lxxi/3 (1985), pp. 281-294.
	26.	Marshall, Robert L.:   Postscript [to 'Bach the Progressive'] [ce]BaroqueComposers (2011), 459-463. Repr. from The Music of Johann Sebastian Bach. The Sources, The Style, The Significance, New York: Schirmer Books (1989), pp. 54-58.
	27.	Tomita, Yo:   Psalm and the Well-Tempered Clavier II: Revisiting the Old Question of Bach's Source of Inspiration. [ce]BaroqueComposers (2011), 465-491. Repr. from Bach, xxxii/1 (2001), pp. 17-43.
	28.	Dürr, Alfred:   Performance practice of Bach's cantatas: Original performance material; original rehearsals; original performance forces; original performance style, conclusions for modern performance. [ce]BaroqueComposers (2011), 495-502. Repr. from American Choral Review, xxix/3-4 (1987), pp. 27-34.
	29.	Rifkin, Joshua:   Bach's Chorus: A preliminary report. [ce]BaroqueComposers (2011), 503-509. Repr. from Musical Times, cxxiii/1677 (1982), pp. 747-754.
	30.	Rasch, Rudolf:   Does 'Well-Tempered' mean 'Equal-Tempered'? [ce]BaroqueComposers (2011), 511-528. Repr. from Peter Williams (ed.), Bach, Handel, Scarlatti Tercentenary Essays. Cambridge: Cambridge University Press (1985), pp. 293-310.
	31.	Neumann, Frederick:   Some Performance Problems of Bach's Unaccompanied Violin and Cello Works. [ce]BaroqueComposers (2011), 529-558. Repr. from Mary Ann Parker (ed.), Eighteenth-Century Music in Theory and Practice: Essays in Honor of Alfred Mann, Stuyvesant: Pendragon Press (1994), pp. 19-46.
	32.	Tomita, Yo:   Introduction. [ce]BaroqueComposers (2011), xv-xxxvii.
	33.	Tomita, Yo (ed.):   Bach. Farnham: Ashgate Publishing, 2011. xxxvii, 574p. ISBN: 978-0-7546-2891-0. (= The Baroque Composers, Series Editor: David Ledbetter) [contents]