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Series : ^EarlyM$Your search has generated the following results ...
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| Type | List | Title [further info  ] | Series | Vol | No | Year | Pages | Status |
|---|---|---|---|---|---|---|---|---|
 | 1. | The choice of instruments in baroque music. | EarlyM | 1 | 3 | 131-138 | ||
| | 2. | The Harpsichord Revival. | EarlyM | 2 | 2 | 85-95 | ||
| | 3. | Wanda Landowska and her repertoire. | EarlyM | 3 | 1 | 39-41 | ||
| | 4. | The Baroque in Germany: performing early music on record -- 3. | EarlyM | 4 | 2 | 183-185 | ||
| | 5. | C.P.E. Bach's Versuch reconsidered. | EarlyM | 4 | 4 | 384-392 | ||
| | 6. | Instructions for the clavier diversely tempered. | EarlyM | 5 | 1 | 18-23 | ||
| | 7. | Authenticity and the St John Passion. | EarlyM | 5 | 1 | 45-49 | ||
| | 8. | The 1976 Berlin Bachfest. | EarlyM | 5 | 1 | 125 | ||
| | 9. | A dance for kings: The 17th-century French Courante. Its character, step-patterns, metric and proportional foundations. | EarlyM | 5 | 2 | 161-172 | ||
| | 10. | What Exactly Is a Violone?: A Note towards a Solution. | EarlyM | 5 | 2 | 173-176 | ||
| | 11. | The baroque trumpet after 1721: Some preliminary observations. Part one: Science and Practice. | EarlyM | 5 | 2 | 177-183 | ||
| | 12. | The dotted note and the so-called French style. | EarlyM | 5 | 3 | 310-324 | ||
| | 13. | Dotting, the 'French style' and Frederick Neumann's Counter-Reformation. | EarlyM | 5 | 4 | 517-542 | ||
| | 14. | What 'is' rhythmic alternation? | EarlyM | 5 | 4 | 543-545 | ||
| | 15. | Performing Style in Bach Cantatas: 1. | EarlyM | 6 | 1 | 89-93 | ||
| | 16. | The baroque trumpet after 1721: Some preliminary observations. Part Two: Function and Use. | EarlyM | 6 | 3 | 356-361 | ||
| | 17. | Performing Style in Bach Cantatas: 2. From Ramin to Richter. | EarlyM | 6 | 3 | 421-427 | ||
| | 18. | Once more: the 'French overture style'. | EarlyM | 7 | 1 | 39-43, 45 | ||
| | 19. | Performing Style in Bach Cantatas: 3. | EarlyM | 7 | 1 | 99-102 | ||
| | 20. | Bach's keyboard temperament: Internal evidence from the Well-Tempered Clavier. | EarlyM | 7 | 2 | 236-237,239,241-245,247,249 | ||
| | 21. | Baroque flute discography. | EarlyM | 7 | 2 | 250-253 | ||
| | 22. | The French style and the overtures of Bach. | EarlyM | 7 | 2,3 | 190-196; 336-345 | ||
| | 23. | 'Well-tempering' the Clavier: five methods. | EarlyM | 7 | 4 | 491-495 | ||
| | 24. | Sylvius Leopold Weiss, master lutenist of the German Baroque. | EarlyM | 8 | 1 | 47-51, 53-55, 57-58 | ||
| | 25. | The principles of L'Affilard. | EarlyM | 8 | 1 | 77,79,81 | ||
| | 26. | Bach's temperament. | EarlyM | 8 | 1 | 129 | ||
| | 27. | The violin bow in the 18th century. | EarlyM | 8 | 2 | 199-203, 205-212 | ||
| | 28. | Bach, and Werckmeister. | EarlyM | 8 | 4 | 511, 513 | ||
| | 29. | Number symbolism in the renaissance lute rose. | EarlyM | 9 | 1 | 32-41 | ||
| | 30. | Bach's temperament. | EarlyM | 9 | 1 | 141 | ||
| | 31. | Bach's temperament. | EarlyM | 9 | 2 | 219-221 | ||
| | 32. | Bach. | EarlyM | 9 | 2 | 283-284 | ||
| | 33. | On playing the Clavichord. | EarlyM | 9 | 3 | 293-305 | ||
| | 34. | BWV 565: A toccata in D minor for Organ by J.S. Bach? | EarlyM | 9 | 3 | 330-337 | ||
| | 35. | The D minor Toccata BWV 565. | EarlyM | 10 | 2 | 216-217 | ||
| | 36. | The most beautiful among the claviers: Rudolf Richter's reconstruction of a Baroque lute-harpsichord. | EarlyM | 10 | 4 | 477-486 | ||
| | 37. | Fifty Years of Harpsichord Playing. | EarlyM | 11 | 1 | 31-41 | ||
| | 38. | J. S. Bach's Well-tempered Clavier: A new approach. | EarlyM | 11 | 1, 3 | 46-52; 332-339 | ||
| | 39. | Manuscripts. | EarlyM | 11 | 2 | 227,229 | ||
| | 40. | In search of the Baroque flute: The flute family 1680-1750. | EarlyM | 12 | 1 | 34-47 | ||
 | 41. | J. S. Bach: Mass in B minor. | EarlyM | 12 | 1 | 137,139,141 | ||
| | 42. | The ladder of love: Verbal and musica rhetoric in the Elizabetan lute-song. | EarlyM | 12 | 2 | 173-189 | ||
| | 43. | Musicke a sister to Poetrie: Rhetorical artifice in the passionate airs of John Dowland. | EarlyM | 12 | 2 | 190-197, 199 | ||
| | 44. | The projection of affect in Baroque dance music. | EarlyM | 12 | 2 | 200-207 | ||
| | 45. | Manuscripts and printed books. | EarlyM | 12 | 2 | 231, 233 | ||
| | 46. | Bach's G minor Sonata for viola da gamba and harpsichord BWV 1029: A seventh Brandenburg Concerto? | EarlyM | 12 | 3 | 345-354 | ||
| | 47. | Bach from 1985 to 2000. | EarlyM | 13 | 2 | 162-164 | ||
| | 48. | A Bach family portrait? | EarlyM | 13 | 2 | 164 | ||
| | 49. | Bach's Leipzig Chamber Music. | EarlyM | 13 | 2 | 165-175 | ||
| | 50. | Bach's 'Orchestre'. | EarlyM | 13 | 2 | 176-179 | ||
| | 51. | The French influence in Bach's instrumental music. | EarlyM | 13 | 2 | 180-184 | ||
| | 52. | Bach as reviser of his own keyboard works. | EarlyM | 13 | 2 | 185-198 | ||
| | 53. | J. P. Kellner's copy of Bach's sonatas and partitas for violin solo. | EarlyM | 13 | 2 | 199-211 | ||
| | 54. | Bach's début at Leipzig. Observations on the genesis of Cantatas 75 and 76. | EarlyM | 13 | 2 | 212-226 | ||
| | 55. | Bach and hymnody. The evidence of the Orgelbüchlein. | EarlyM | 13 | 2 | 227-236 | ||
| | 56. | The metaphorical soloist: Concerted organ parts in Bach's cantatas. | EarlyM | 13 | 2 | 237-247 | ||
| | 57. | 'Echtheit angezweifelt'. Style and authenticity in two suites attributed to Bach. | EarlyM | 13 | 2 | 248-255 | ||
| | 58. | Bach's Music in France: A New Source. | EarlyM | 13 | 2 | 256-259 | ||
| | 59. | Manuscripts and Printed Books. | EarlyM | 13 | 2 | 267-268 | ||
| | 60. | The Baroque flute. | EarlyM | 13 | 2 | 331,333,335 | ||
| | 61. | A Trio in C major for recorder, violin and continuo by J. S. Bach? | EarlyM | 13 | 3 | 384-390 | ||
| | 62. | Bach in Berlin. | EarlyM | 13 | 4 | 611-612 | ||
| | 63. | A third alternative. | EarlyM | 14 | 3 | 409-411 | ||
| | 64. | Bach's 'Orchestre'. | EarlyM | 14 | 4 | 566-567 | ||
| | 65. | The Six French Suites: J. S. Bach. Edited by Alfred Dürr. Bärenreiter, Kassel, 1984, DM 22. | EarlyM | 14 | 4 | 599,601 | ||
| | 66. | Italian oratorio and the Baroque orchestra. | EarlyM | 16 | 4 | 506-513 | ||
| | 67. | Newly found works of C.P.E. Bach. | EarlyM | 16 | 4 | 523-532 | ||
| | 68. | C.P.E. Bach and the tradition of Passion music in Hamburg. | EarlyM | 16 | 4 | 533-541 | ||
| | 69. | Performing C. P. E. Bach: Some Open Questions. | EarlyM | 16 | 4 | 542-551 | ||
| | 70. | Johann Sebastian Bach's orchestra: some unanswered questions. | EarlyM | 17 | 1 | 3-15 | ||
| | 71. | The Dresden Hofkapelle during the lifetime of Johann Sebastian Bach. | EarlyM | 17 | 1 | 17-30 | ||
| | 72. | The editorial transmission of C.P.E. Bach's music. | EarlyM | 17 | 1 | 32-41 | ||
| | 73. | A chaconne by Georg Böhm: a note on German composers and French styles. | EarlyM | 17 | 1 | 43-54 | ||
| | 74. | Early fingering: some editing problems and some new readings for J.S. Bach and John Bull. | EarlyM | 17 | 1 | 60-69 | ||
| | 75. | The Bach Compendium. | EarlyM | 17 | 1 | 79-88 | ||
| | 76. | Three sonatas for viola da gamba and harpsichord (BWV 1027-1029). | EarlyM | 17 | 1 | 106,108,110,113 | ||
| | 77. | Manuscripts and Printed Music. | EarlyM | 18 | 2 | 283-284, 287 | ||
| | 78. | Beyond temperament: non-keyboard intonation in the 17th and 18th centuries. | EarlyM | 19 | 3 | 357-365,367-370,372-381 | ||
| | 79. | 'To soften the sound of the hoboy': The muted oboe in the 18th and early 19th centuries. | EarlyM | 21 | 1 | 65-76, 78-80 | ||
| | 80. | Boyvin, Grigny, D'Anglebert, and Bach's assimilation of French Classical organ music. | EarlyM | 21 | 1 | 83-84, 86-96 | ||
| | 81. | Two case studies in performance practice and the details of notation: 1. J. S. Bach and 2/4 Time. | EarlyM | 21 | 4 | 613-622 | ||
| | 82. | Two case studies in performance practice and the details of notation: 2: J. S. Bach and left-hand-right-hand distribution. | EarlyM | 22 | 1 | 101-113 | ||
| | 83. | Sonority in the 18th century, un poco più forte? | EarlyM | 22 | 3 | 482-495 | ||
| | 84. | Bach and the Flute: The Players, the Instruments, the Music. | EarlyM | 23 | 1 | 9-10, 13-14, 17-29 | ||
| | 85. | Quantz and the Sonata in E flat major for flute and cembalo, BWV 1031. | EarlyM | 23 | 1 | 31-53 | ||
| | 86. | Quantz's unegal: Implications for the Performance of 18th-Century Music. | EarlyM | 23 | 1 | 54-62 | ||
| | 87. | C. P. E. Bach and Friedrich Ludwig Dülon: Composition and improvisation in late 18th-century Germany. | EarlyM | 23 | 1 | 65-76, 78-80 | ||
| | 88. | Jacob Denner and the development of the flute in Germany. | EarlyM | 23 | 1 | 82-100 | ||
| | 89. | Sacred Bach, echt and unecht. | EarlyM | 23 | 2 | 338 | ||
| | 90. | Manuscripts and printed music. | EarlyM | 23 | 2 | 355-358 | ||
| | 91. | Isolde Ahlgrimm, 1914-1995. | EarlyM | 24 | 1 | 187-188 | ||
| | 92. | Bach's chorus: a 'brief yet highly necessary' reappraisal. | EarlyM | 24 | 4 | 551-580 | ||
| | 93. | From Weimar to Leipzig: concertists and ripientists in Bach's 'Ich hatte viel Bekümmernis'. | EarlyM | 24 | 4 | 583-603 | ||
| | 94. | Recording Bach's Early Cantatas. | EarlyM | 24 | 4 | 605-621 | ||
| | 95. | Printed and Manuscript Music. | EarlyM | 25 | 1 | 159-164 | ||
| | 96. | Bach's French Overtures and the Politics of Overdotting. | EarlyM | 25 | 1 | 35-44 | ||
| | 97. | A French overture revisited: another look at the two versions of BWV 831. | EarlyM | 25 | 1 | 47-58, 60-61 | ||
| | 98. | Bach's chorus: who cares? | EarlyM | 25 | 2 | 297-302 | ||
| | 99. | Bassoons, violins and voices: a response to Ton Koopman. | EarlyM | 25 | 2 | 303-307 | ||
| | 100. | One-to-a-part? Who then turns the pages - More on Bach's chorus. | EarlyM | 25 | 3 | 541-542 | ||
| | 101. | Page turns, players and ripieno parts: more questions of scoring in Bach's vocal music. | EarlyM | 25 | 4 | 728-731, 733-734 | ||
| | 102. | Bach's choir, an ongoing story. | EarlyM | 26 | 1 | 109-121 | ||
| | 103. | Bach's vocal scoring: what can it mean? | EarlyM | 26 | 1 | 99-107 | ||
| | 104. | Bach's Chorus: A neverending story? | EarlyM | 26 | 2 | 380-381 | ||
| | 105. | Bach's Chorus: Stomach aches may disappear! | EarlyM | 26 | 3 | 540-542 | ||
| | 106. | Bach's Chorus: beyond reasonable doubt. | EarlyM | 26 | 4 | 636-658 | ||
| | 107. | Bach's chorus: an amplification. | EarlyM | 27 | 1 | 172 | ||
| | 108. | Bach's Chorus: A Plea for Mercy. | EarlyM | 27 | 1 | 172 | ||
| | 109. | Bach's chorus: an appreciation. | EarlyM | 27 | 1 | 173 | ||
| | 110. | Timpani Parts in German Baroque Music: The Schlagmanieren Revisited. | EarlyM | 27 | 2 | 249-264, 266 | ||
| | 111. | Bach's chorus: not again! | EarlyM | 27 | 2 | 350 | ||
| | 112. | C. P. E. Bach conference. German Orpheus: C. P. E. Bach and musical culture in the late 18th century, Barnes Hall, Cornell University, 12-14 February 1999. | EarlyM | 27 | 3 | 507 | ||
| | 113. | Bach's notation of tempo and early music performance: some reconsiderations. | EarlyM | 28 | 3 | 455-466 | ||
| | 114. | Bach cello suites. | EarlyM | 28 | 4 | 660-661 | ||
| | 115. | Bach cantatas in abundance. | EarlyM | 28 | 4 | 671-676 | ||
| | 116. | Bach comes to Dublin. Ninth Biennial Conference on Baroque Music, Trinity College, Dublin, 12-14 July 2000. | EarlyM | 28 | 4 | 678-679 | ||
| | 117. | Bach performance practice. Internationale Bachakademie, Stuttgart, 26-8 August 2000. | EarlyM | 28 | 4 | 679-680 | ||
| | 118. | The reception of the cantata during Leipzig church services, 1700-1750. | EarlyM | 30 | 1 | 26-45 | ||
| | 119. | Lassus and Bach -- but not as we know them. | EarlyM | 30 | 4 | 634-636 | ||
| | 120. | 'My honourable lord and father...': 18th-century English musical life through Bohemian eyes. | EarlyM | 31 | 2 | 210-231 | ||
| | 121. | Bach's singers. | EarlyM | 31 | 2 | 318 | ||
| | 122. | Quantz's Quatuors and Other Works Newly Discovered. | EarlyM | 31 | 4 | 484-505 | ||
| | 123. | Bach's art of church music and his Leipzig performance forces: contradictions in the system. | EarlyM | 31 | 4 | 558-571 | ||
| | 124. | Bach's chorus: some new parts, some new questions. | EarlyM | 31 | 4 | 573-580 | ||
| | 125. | Bach and solo singers. | EarlyM | 31 | 4 | 628-629 | ||
| | 126. | Bach's singers. | EarlyM | 32 | 2 | 350 | ||
| | 127. | Bach's extraordinary temperament: our Rosetta Stone -- 1. | EarlyM | 33 | 1 | 3-24 | ||
| | 128. | Daniel Vetter and the domestic keyboard chorale in Bach's Leipzig. | EarlyM | 33 | 1 | 39-53 | ||
| | 129. | The Altbachisches Archiv. | EarlyM | 33 | 1 | 141-144 | ||
| | 130. | Bach's extraordinary temperament: our Rosetta Stone -- 2. | EarlyM | 33 | 2 | 211-232 | ||
| | 131. | Bach: cantatas and a passion. | EarlyM | 34 | 1 | 168-171 | ||
| | 132. | Bach-style keyboard tuning. | EarlyM | 34 | 4 | 613-623 | ||
| | 133. | Bach's temperament, Occam's razor, and the Neidhardt factor. | EarlyM | 34 | 4 | 625-633 | ||
| | 134. | Recent approaches in understanding Cristofori's fortepiano. | EarlyM | 34 | 4 | 635-644 | ||
| | 135. | In Buxtehude's footsteps. | EarlyM | 35 | 3 | 339-353 | ||
| | 136. | Pianos and harpsichords for Their Majesties. | EarlyM | 36 | 3 | 359-396 | ||
| | 137. | More on temperament. | EarlyM | 36 | 4 | 678 | ||
| | 138. | Recent re-evaluations of the Baroque cello and what they might mean for performing the music of J.S. Bach | EarlyM | 38 | 2 | 181-192 | ||
| | 139. | The unnatural trumpet. | EarlyM | 38 | 2 | 193-202 | ||
| | 140. | The revival of the natural trumpet in the Baroque repertory: utopian or not? | EarlyM | 38 | 2 | 203-204 | ||
| | 141. | Bach's chorus revisited: Historically informed performance practice as 'bounded creativity' | EarlyM | 38 | 2 | 205-213 | ||
| | 142. | On the performing forces of Johann Sebastian Bach's Leipzig church music. | EarlyM | 38 | 2 | 215-222 | ||
| | 143. | Bach's chorus: the Leipzig line - A response to Andreas Glöckner. | EarlyM | 38 | 2 | 223-235 | ||
| | 144. | Buxtehude's Praeludia and the sonata publications of Corelli. | EarlyM | 38 | 2 | 249-261 | ||
| | 145. | A Bach odyssey | EarlyM | 38 | 2 | 263-272 | ||
| | 146. | Canonic Bach for viols. | EarlyM | 38 | 2 | 310-313 | ||
| | 147. | Bach's chorus: Against the wall. | EarlyM | 38 | 3 | 437-439 | ||
| | 148. | A new perspective on the performance of dotted rhythms. | EarlyM | 38 | 4 | 585-588 | ||
| | 149. | Further thoughts on Bach's 1722 temperament. | EarlyM | 39 | 3 | 401-408 | ||
| | 150. | Early keyboards at Edinburgh. | EarlyM | 39 | 3 | 477 | ||
| | 151. | 'The ripienists must also be at least eight, namely two for each part': The Leipzig line of 1730--some observations. | EarlyM | 39 | 4 | 575-586 | ||
| | 152. | J. S. Bach's Trauer-Music for Prince Leopold: clarification and reconstruction. | EarlyM | 39 | 4 | 587-596 | ||
| | 153. | Bach in Edinburgh. | EarlyM | 39 | 4 | 664-665 | ||
| | 154. | Bach's chorus: more of the same. | EarlyM | 40 | 1 | 165-166 | ||
| | 155. | Bach's temperament. | EarlyM | 40 | 1 | 166-167 | ||
| | 156. | Bach's temperament. | EarlyM | 40 | 1 | 167 | ||
| | 157. | Baroque Conference. | EarlyM | 40 | 3 | 540-542 | ||
| | 158. | [A response to D. Ledbetter's 'Bach's meaning?' (review of book by C. Booth), EarlyM xxxix/3 (2011)] | EarlyM | 40 | 3 | 544 | ||
| | 159. | Gustav Leonhardt’s 'authenticity'. | EarlyM | 41 | 1 | 86-98 | ||
| | 160. | Performing C. P. E. Bach: some questions answered? | EarlyM | 41 | 1 | 119-122 | ||
| | 161. | Gustav Leonhardt, the Naarden circle and early music's reformation. | EarlyM | 42 | 1 | 3-12 | ||
| | 162. | From Landowska to Leonhardt, from Pleyel to Skowroneck: historicizing the harpsichord, from stringed organ to mechanical lute. | EarlyM | 42 | 1 | 13-22 | ||
| | 163. | Gustav Leonhardt's Bach cantata recordings: project, reception and style. | EarlyM | 42 | 1 | 37-54 | ||
| | 164. | Bach's 'Art of Fugue': suggestions for the last gap. | EarlyM | 42 | 2 | 249-257 | ||
| | 165. | Bach's use of the single-note ornament in the 'Goldberg Variations'. | EarlyM | 42 | 2 | 259-272 | ||
| | 166. | Notes inégales: a definitive new parameter. | EarlyM | 42 | 2 | 273-289 | ||
| | 167. | Carl Philipp Emanuel Bach: a tercentenary assessment. | EarlyM | 42 | 3 | 335-345 | ||
| | 168. | Listening for likeness, or C. P. E. Bach and the art of speculation. | EarlyM | 42 | 3 | 347-362 | ||
| | 169. | The songs of C. P. E. Bach: a performer's perspective. | EarlyM | 42 | 3 | 363-377 | ||
| | 170. | Organizing the complete works of C. P. E. Bach. | EarlyM | 42 | 3 | 379-387 | ||
| | 171. | Rehearsal for the opera--remarks on a lost composition by Johann Kuhnau from 1683. | EarlyM | 42 | 3 | 409-420 | ||
| | 172. | C.P.E. Bach at the keyboard. | EarlyM | 43 | 2 | 364-365 | ||
| | 173. | A quantitative study of seven historically informed performances of Bach's BWV1007 Prelude. | EarlyM | 43 | 4 | 611-622 | ||
| | 174. | Should (early) Baroque music be equally tempered? Vincenzo Galilei's 1584 Libro d'intavolatura di liuto and its wider implications for historical performance practice. | EarlyM | 44 | 1 | 119-124 | ||
| | 175. | Deciphering the performance hints hidden in J. S. Bach's quaver beams. | EarlyM | 44 | 1 | 89-104 | ||
| | 176. | Printing, politics and 'a well-regulated church music': a new perspective on J. S. Bach's Mühlhausen cantatas. | EarlyM | 44 | 3 | 449-460 | ||
| | 177. | Bach in Cambridge. | EarlyM | 45 | 4 | 708-709 | ||
| | 178. | How thorough was Bach's thoroughbass? A reconsideration of the trio texture. | EarlyM | 47 | 1 | 83-97 | ||
| | 179. | Notation and the origins of Bach's Cello Suite in C minor (BWV 1011). | EarlyM | 47 | 2 | 241-254 | ||
| | 180. | Estienne Roger and his agent Adam Christoph Sellius: new light on Italian and French music in Bach's world. | EarlyM | 47 | 3 | 361-370 | ||
| | 181. | In search of the lost parts of Bach's cantata Singet dem Herrn ein neues Lied (BWV 190). | EarlyM | 47 | 4 | 515–532 | ||
| | 182. | More Bach in Cambridge. | EarlyM | 47 | 4 | 612–614 | ||
| | 183. | Affective practices in mid-18th-century German music-making: reflections on C. P. E. Bach's advice to performers. | EarlyM | 48 | 2 | 193-203 |