Type | List | Author | Title[further info] | Series | Vol | No | Year | Pages | Status |
| 1. | Moseley, Rowland | The Art of Gigue: Perspectives on Genre and Formula in J. S. Bach's Compositional Practice. |
diss. |
| | 2014 |
|
|
| 2. | Poveda Guacanemo, Adriana Marcela | Propuesta interpretativa a partir del análisis formal y estilístico de dos movimientos Allemanda y doble de la partita para violín solo No.1 en Si menor de J.S Bach. |
diss. |
| | 2014 |
23p |
|
| 3. | Velikovskij, Aleksandr Űr'evič | Gol'dberg-variacii (Aria mit verschiedenen Verćnderungen) v kontekste pozdnego tvorcestva I.S. Baha. |
diss. |
| | 2014 |
417p |
|
| 4. | Isaacs, Azra | A performance guide of J.S. Bach's viola da Gama sonatas transcribed for viola. |
diss. |
| | 2014 |
86p |
|
| 5. | Napier, Dione, J. | A Study of J.S. Bach's Sacred and Secular Vocal Works influenced by Popular Stylized Dance of the French Baroque Court: A Performer's Guide. |
diss. |
| | 2014 |
v, 127p |
|
| 6. | Kostka, Magdalena | Sonatas for violin and basso continuo written by British composers in the first half of the eighteenth century. |
diss. |
| | 2014 |
vii, 437p |
|
| 7. | Hucht, Michael | Felix Mendelssohn Bartholdys vierstimmige Chorlieder a cappella und das Chorwesen in der ersten Ha¨lfte des 19. Jahrhunderts. |
diss. |
| | 2014 |
viii, 342, ccvi p |
|
| 8. | French, Hannah Chloe | The Role of Sir Henry J. Wood in the English Bach Awakening: Orchestral Bach at the Proms 1895-1944. |
diss. |
| | 2014 |
x, 238, viii, 191p |
|
| 9. | Duvall, André Charles | The Development and Application of Keyboard Fingering Principles in the Music of J. S. Bach and C. P. E. Bach: An Analysis in Comparison with Modern Approaches to Fingering, and the Utilization of the J. C. Bach-Ricci Method for Nurturing a Versatile Technique in the Early Stages of Study. |
diss. |
| | 2014 |
xiv, 192p |
|
| 10. | Reef, John S. | Perspectives on Phrase Rhythm in J. S. Bach's Keyboard Fugues. |
diss. |
| | 2014 |
xix, 245p |
|
| 11. | Holden, Edward | Charles Valentin Alkan: Interpreting the Composer's use of Rhythm as Identified in the Dominant Motifs present in the Music for Organ, Pedal-piano and Harmonium. |
diss. |
| | 2014 |
xvii, 400p |
|