Bach Bibliography
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Author : Butler, Gregory G.
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TypeListTitle[further info]SeriesVolNoYearPagesStatus
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1. Bach's Clavier-Übung III: The making of a print. With a companion study of the Canonic Variations on 'Vom Himmel hoch', BWV 769. 1990 139p
2. J. S. Bach's Einige Canonische Veraenderungen: The View from the Original Print. Bach 20 2 Summer 1989 4-37
3. J. S. Bach's 'Hudemann' Canon, BWV 1074: A Note on the Engraving and Printing History. Bach 25 1 Spring-Summer 1994 5-10
4. The Galant Style in J. S. Bach's Musical Offering: Widening the Dimensions. Bach 33 1 2002 57-68
5. Leipziger Stecher in Bachs Origianldrucken. BachJb 66 1980 9-26
6. Neues zur Datierung der Goldberg-Variationen. BachJb 74 1988 219-223
7. Johann Sebastian Bachs Gloria in excelsis Deo BWV 191: Musik für ein Leipziger Dankfest. BachJb 78 1992 65-71
8. J. S. Bachs Kanonische Veränderungen über 'Vom Himmel hoch' (BWV 769). Ein Schlußstrich unter die Debatte um die Frage der 'Fassung letzter Hand'. BachJb 86 2000 9-34
9. Johann Gottlob Immanuel Breitkopf: The Formative Years. BachPerspectives 2 1996 159-168
10. The Question of Genre in J. S. Bach's Fourth Brandenburg Concerto. BachPerspectives 4 1999 9-32
11. Bach Perspectives. Volume Six. J. S. Bach's Concerted Ensemble Music, The Ouverture. BachPerspectives 6 2007 xi, 163p
12. Bach the Cobbler: The Origins of J. S. Bach's E-Major Concerto (BWV 1053). BachPerspectives 7 2008 1-20
13. Bach Perspectives. Volume Seven. J. S. Bach's Concerted Ensemble Music, The Concerto. BachPerspectives 7 2008 xi, 121p
14. J. S. Bach's reception of Tomaso Albinoni's mature concertos. BachStud 2 1995 20-46
15. Borrowings in J. S. Bach's Klavierübung III. CanadianUnivMReview 4 1983 204-217
16. Scribes, Engravers, and Notational Styles: The Final Disposition of Bach's Art of Fugue. [ce]AboutBach 2008 111-123
17. About Bach. [ce]AboutBach 2008 xi, 216p
18. Der vollkommene Capellmeister as a stimulus to J. S. Bach's late fugal writing. [ce]NewMatthesonStudies 1983 293-305
19. Johann Gotthilf Ziegler: Der Notenstecher der Partiten III bis VI von Johann Sebastian Bach? [cr]Leipzig1985 1988 277-281
20. The Canonic Sequence in Theory and Practice: A musical-rhetorical study of its origins, and development in keyboard music to 1750. diss. 1973
21. Toward a More Precise Chronology for Bach's Concerto for Three Violins and Strings BWV 1064a: The Case for Formal Analysis. DortmundBachF 1 1997 235-247
22. Toward an Aesthetic and Pedagogical Context for J. S. Bach's Italian Concerto BWV 971. DortmundBachF 6 2003 223-230
23. The projection of affect in Baroque dance music. EarlyM 12 2 May 1984 200-207
24. Fasch and the canonic trio sonata. FaschSt 6 1997 249-262
25. Bach's Preluding for a Leipzig Academic Ceremony. [fs]Leaver65 2007 51-67
26. The Engravers of Bach's Clavier-Übung II. [fs]Scheide 1993 57-69
27. Johann Sebastian Bach und Johann Gottlieb Graun. [fs]Schulze65 1999 186-193
28. The origins of J.S. Bach's 'Wie jammern mich doch die verkehrten Herzen,' BWV 170/3. [fs]Williams70 2007 227-236
29. The prelude to the third English Suite BWV 808: an allegro concerto movement in ritornello form. IrishMStud 8 2004 93-101
30. The Printing History of J. S. Bach's Musical Offering: New Interpretations. JMcol 19 2 Spring 2002 306-331
31. J. S. Bach and the Concord-Discord Paradox. JMcol 9 3 Summer 1991 343-357
32. The engraving of J. S. Bach's six partitas. JMcolResearch 7 1 1986 3-27
33. Fugue and Rhetoric. JMTheory 21 1 Spring 1977 49-109
34. Eine neue Interpretation der Druckgeschichte des Musikalischen Opfers. LeipzigerBeitrBachF 5 2002 309-320
35. The Fantasia as Musical Image. MQ 60 4 Oct 1974 602-615
36. Music and Rhetoric in early 17th century English sources. MQ 66 1 Jan 1980 53-64
37. Ordering Problems in J. S. Bach's Art of Fugue Resolved. MQ 69 1 Winter 1983 44-61
38. Ordering Problems in J. S. Bach's Art of the Fugue Resolved. [p]AMS_Biltmore Nov 1979
39. Mattheson's Der vollkommene Capellmeister and J. S. Bach's Late Fugal Writing. [p]AMS_Boston Nov 1981
40. The Proof Copies of J. S. Bach's Klavierübung III. [p]AMS_Louisville Oct 1983
41. New Research on J. S. Bach's Dritter Teil der Klavierübung (1739). [p]AMS_Minneapolis Oct 1978
42. Using Chronological Markers to Establish Connexes of Bach's Concerto Movements. [p]AMS_PacificNorthwest Apr 1999
43. J. S. Bach and the Schemelli Gesangbuch Revisited. [p]AMS_PacificNorthwest Nov 1979
44. Borrowings in J. S. Bach's Klavierübung III. [p]AMS_PacificNorthwest Apr 1981
45. J. S. Bach's Gloria in Excelsis Deo (BWV 191): Music for a Leipzig Dankfest. [p]AMS_PacificNorthwest Mar-Apr 1990
46. Konrad Friedrich Hurlebusch and His Influence on J. S. Bach. [p]AMS_PacificNorthwest Nov 1977
47. J. S. Bach's Klavierübung III: Aspects of its Evolution as Revealed in the Original Print. [p]AMS_PacificNorthwest May 1984
48. The Engraving and Printing of J. S. Bach's Six Partitas. [p]AMS_Vancouver Nov 1985
49. The Prelude to J. S. Bach's Third English Suite BWV 808/1: An Allegro Concerto Movement in Ritornello Form. [p]BCB_Dublin Jul 2000
50. The Galant Style in Bach's Musical Offering: Widening the Dimensions [p]BS_Dortmund Jan 1998
51. Der äesthetische und pädagogische Kontext des Italienischen Konzerts. [p]BS_Dortmund Jan-Feb 2002
52. Bachs Musicalisches Opfer. Neue Entdeckungen am Originaldruck. [p]WK_Leipzig Jan 2000
53. J. S. Bach and the Schemelli Gesangbuch Revisited. StudiMusicali 13 2 1984 241-257

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