| Author |
Title |
Series |
Vol |
No |
Year |
Pages |
NB |
| Donington, Robert | The choice of instruments in baroque music. | EarlyM | 1 | 3 | Jul 1973 | 131-138 | |
| Schott, Howard | The Harpsichord Revival. | EarlyM | 2 | 2 | Apr 1974 | 85-95 | |
| Bainbridge, Timothy | Wanda Landowska and her repertoire. | EarlyM | 3 | 1 | Jan 1975 | 39-41 | |
| Arnold, Denis | The Baroque in Germany: performing early music on record -- 3. | EarlyM | 4 | 2 | Apr 1976 | 183-185 | |
| Kirkpatrick, Ralph | C.P.E. Bach's Versuch reconsidered. | EarlyM | 4 | 4 | Oct 1976 | 384-392 | |
| Lindley, Mark | Instructions for the clavier diversely tempered. | EarlyM | 5 | 1 | Jan 1977 | 18-23 | |
| Lam, Basil | Authenticity and the St John Passion. | EarlyM | 5 | 1 | Jan 1977 | 45-49 | |
| Procter, Michael | The 1976 Berlin Bachfest. | EarlyM | 5 | 1 | Jan 1977 | 125 | |
| Hilton, Wendy | A dance for kings: The 17th-century French Courante. Its character, step-patterns, metric and proportional foundations. | EarlyM | 5 | 2 | Apr 1977 | 161-172 | |
| Baines, Francis | What Exactly Is a Violone?: A Note towards a Solution. | EarlyM | 5 | 2 | Apr 1977 | 173-176 | |
| Smithers, Don L. | The baroque trumpet after 1721: Some preliminary observations. Part one: Science and Practice. | EarlyM | 5 | 2 | Apr 1977 | 177-183 | |
| Neumann, Frederick | The dotted note and the so-called French style. | EarlyM | 5 | 3 | Jul 1977 | 310-324 | |
| Fuller, David | Dotting, the 'French style' and Frederick Neumann's Counter-Reformation. | EarlyM | 5 | 4 | Oct 1977 | 517-542 | |
| Donington, Robert | What 'is' rhythmic alternation? | EarlyM | 5 | 4 | Oct 1977 | 543-545 | |
| Anderson, Nicholas | Performing Style in Bach Cantatas: 1. | EarlyM | 6 | 1 | Jan 1978 | 89-93 | |
| Smithers, Don L. | The baroque trumpet after 1721: Some preliminary observations. Part Two: Function and Use. | EarlyM | 6 | 3 | Jul 1978 | 356-361 | |
| Anderson, Nicholas | Performing Style in Bach Cantatas: 2. From Ramin to Richter. | EarlyM | 6 | 3 | Jul 1978 | 421-427 | |
| Neumann, Frederick | Once more: the 'French overture style'. | EarlyM | 7 | 1 | Jan 1979 | 39-43, 45 | |
| Anderson, Nicholas | Performing Style in Bach Cantatas: 3. | EarlyM | 7 | 1 | Jan 1979 | 99-102 | |
| Barnes, John | Bach's keyboard temperament: Internal evidence from the Well-Tempered Clavier. | EarlyM | 7 | 2 | Apr 1979 | 236-237,239,241-245,247,249 | |
| Hibgee, Dale | Baroque flute discography. | EarlyM | 7 | 2 | Apr 1979 | 250-253 | |
| O'Donnell, John | The French style and the overtures of Bach. | EarlyM | 7 | 2,3 | Apr,Jul 1979 | 190-196; 336-345 | |
| Blood, William | 'Well-tempering' the Clavier: five methods. | EarlyM | 7 | 4 | Oct 1979 | 491-495 | |
| Smith, Douglas Alton | Sylvius Leopold Weiss, master lutenist of the German Baroque. | EarlyM | 8 | 1 | Jan 1980 | 47-51, 53-55, 57-58 | |
| Schwandt, Erich; O'Donnell, John | The principles of L'Affilard. | EarlyM | 8 | 1 | Jan 1980 | 77,79,81 | |
| Di Véroli, Claudio | Bach's temperament. | EarlyM | 8 | 1 | Jan 1980 | 129 | |
| Boyden, David D. | The violin bow in the 18th century. | EarlyM | 8 | 2 | Apr 1980 | 199-203, 205-212 | |
| Jones, Philip P.; Barnes, John | Bach, and Werckmeister. | EarlyM | 8 | 4 | Oct 1980 | 511, 513 | |
| Wells, Ribin Headlam | Number symbolism in the renaissance lute rose. | EarlyM | 9 | 1 | Jan 1981 | 32-41 | |
| Kellner, Herbert Anton | Bach's temperament. | EarlyM | 9 | 1 | Jan 1981 | 141 | |
| Di Véroli, Claudio | Bach's temperament. | EarlyM | 9 | 2 | Apr 1981 | 219-221 | |
| Leavis, Ralph | Bach. | EarlyM | 9 | 2 | Apr 1981 | 283-284 | |
| Kirkpatrick, Ralph | On playing the Clavichord. | EarlyM | 9 | 3 | Jul 1981 | 293-305 | |
| Williams, Peter F. | BWV 565: A toccata in D minor for Organ by J.S. Bach? | EarlyM | 9 | 3 | Jul 1981 | 330-337 | |
| Humphreys, David | The D minor Toccata BWV 565. | EarlyM | 10 | 2 | Apr 1982 | 216-217 | |
| Henning, Uta | The most beautiful among the claviers: Rudolf Richter's reconstruction of a Baroque lute-harpsichord. | EarlyM | 10 | 4 | Oct 1982 | 477-486 | |
| Kirkpatrick, Ralph | Fifty Years of Harpsichord Playing. | EarlyM | 11 | 1 | Jan 1983 | 31-41 | |
| Williams, Peter F. | J. S. Bach's Well-tempered Clavier: A new approach. | EarlyM | 11 | 1, 3 | Jan, Jul 1983 | 46-52; 332-339 | |
| Roe, Stephen | Manuscripts. | EarlyM | 11 | 2 | Apr 1983 | 227,229 | |
| Addington, Christopher | In search of the Baroque flute: The flute family 1680-1750. | EarlyM | 12 | 1 | Feb 1984 | 34-47 | |
| Williams, Peter F. | J. S. Bach: Mass in B minor. | EarlyM | 12 | 1 | Feb 1984 | 137,139,141 | |
| Wells, Ribin Headlam | The ladder of love: Verbal and musica rhetoric in the Elizabetan lute-song. | EarlyM | 12 | 2 | May 1984 | 173-189 | |
| Toft, Robert | Musicke a sister to Poetrie: Rhetorical artifice in the passionate airs of John Dowland. | EarlyM | 12 | 2 | May 1984 | 190-197, 199 | |
| Butler, Gregory G. | The projection of affect in Baroque dance music. | EarlyM | 12 | 2 | May 1984 | 200-207 | |
| Searle, Arthur | Manuscripts and printed books. | EarlyM | 12 | 2 | May 1984 | 231, 233 | |
| Williams, Peter F. | Bach's G minor Sonata for viola da gamba and harpsichord BWV 1029: A seventh Brandenburg Concerto? | EarlyM | 12 | 3 | Aug 1984 | 345-354 | |
| Wolff, Christoph | Bach from 1985 to 2000. | EarlyM | 13 | 2 | May 1985 | 162-164 | |
| Kenyon, Nicholas | A Bach family portrait? | EarlyM | 13 | 2 | May 1985 | 164 | |
| Wolff, Christoph | Bach's Leipzig Chamber Music. | EarlyM | 13 | 2 | May 1985 | 165-175 | |
| Marshall, Robert L. | Bach's 'Orchestre'. | EarlyM | 13 | 2 | May 1985 | 176-179 | |
| Schulze, Hans-Joachim | The French influence in Bach's instrumental music. | EarlyM | 13 | 2 | May 1985 | 180-184 | |
| Stauffer, George B. | Bach as reviser of his own keyboard works. | EarlyM | 13 | 2 | May 1985 | 185-198 | |
| Stinson, Russell | J. P. Kellner's copy of Bach's sonatas and partitas for violin solo. | EarlyM | 13 | 2 | May 1985 | 199-211 | |
| Crist, Stephen A. | Bach's début at Leipzig. Observations on the genesis of Cantatas 75 and 76. | EarlyM | 13 | 2 | May 1985 | 212-226 | |
| Leaver, Robin A. | Bach and hymnody. The evidence of the Orgelbüchlein. | EarlyM | 13 | 2 | May 1985 | 227-236 | |
| Dreyfus, Laurence | The metaphorical soloist: Concerted organ parts in Bach's cantatas. | EarlyM | 13 | 2 | May 1985 | 237-247 | |
| Hill, Robert | 'Echtheit angezweifelt'. Style and authenticity in two suites attributed to Bach. | EarlyM | 13 | 2 | May 1985 | 248-255 | |
| Cyr, Mary | Bach's Music in France: A New Source. | EarlyM | 13 | 2 | May 1985 | 256-259 | |
| Searle, Arthur | Manuscripts and Printed Books. | EarlyM | 13 | 2 | May 1985 | 267-268 | |
| Addington, Christopher | The Baroque flute. | EarlyM | 13 | 2 | May 1985 | 331,333,335 | |
| Marissen, Michael | A Trio in C major for recorder, violin and continuo by J. S. Bach? | EarlyM | 13 | 3 | Aug 1985 | 384-390 | |
| Roe, Stephen | Bach in Berlin. | EarlyM | 13 | 4 | Nov 1985 | 611-612 | |
| Pont, Graham | A third alternative. | EarlyM | 14 | 3 | Aug 1986 | 409-411 | |
| Rifkin, Joshua | Bach's 'Orchestre'. | EarlyM | 14 | 4 | Nov 1986 | 566-567 | |
| Cooper, Barry | The Six French Suites: J. S. Bach. Edited by Alfred Dürr. Bärenreiter, Kassel, 1984, DM 22. | EarlyM | 14 | 4 | Nov 1986 | 599,601 | |
| Selfridge-Field, Eleanor | Italian oratorio and the Baroque orchestra. | EarlyM | 16 | 4 | Nov 1988 | 506-513 | |
| Wade, Rachel W. | Newly found works of C.P.E. Bach. | EarlyM | 16 | 4 | Nov 1988 | 523-532 | |
| Clark, Stephen Lewis | C.P.E. Bach and the tradition of Passion music in Hamburg. | EarlyM | 16 | 4 | Nov 1988 | 533-541 | |
| Schulenberg, David | Performing C. P. E. Bach: Some Open Questions. | EarlyM | 16 | 4 | Nov 1988 | 542-551 | |
| Schulze, Hans-Joachim | Johann Sebastian Bach's orchestra: some unanswered questions. | EarlyM | 17 | 1 | Feb 1989 | 3-15 | |
| Landmann, Ortrun | The Dresden Hofkapelle during the lifetime of Johann Sebastian Bach. | EarlyM | 17 | 1 | Feb 1989 | 17-30 | |
| Helm, E. Eugene | The editorial transmission of C.P.E. Bach's music. | EarlyM | 17 | 1 | Feb 1989 | 32-41 | |
| Williams, Peter F. | A chaconne by Georg Böhm: a note on German composers and French styles. | EarlyM | 17 | 1 | Feb 1989 | 43-54 | |
| Lindley, Mark | Early fingering: some editing problems and some new readings for J.S. Bach and John Bull. | EarlyM | 17 | 1 | Feb 1989 | 60-69 | |
| Rifkin, Joshua | The Bach Compendium. | EarlyM | 17 | 1 | Feb 1989 | 79-88 | |
| Cyr, Mary | Three sonatas for viola da gamba and harpsichord (BWV 1027-1029). | EarlyM | 17 | 1 | Feb 1989 | 106,108,110,113 | |
| Searle, Arthur | Manuscripts and Printed Music. | EarlyM | 18 | 2 | May 1990 | 283-284, 287 | |
| Haynes, Bruce | Beyond temperament: non-keyboard intonation in the 17th and 18th centuries. | EarlyM | 19 | 3 | Aug 1991 | 357-365,367-370,372-381 | |
| Page, Janet. K. | 'To soften the sound of the hoboy': The muted oboe in the 18th and early 19th centuries. | EarlyM | 21 | 1 | Feb 1993 | 65-76, 78-80 | |
| Stauffer, George B. | Boyvin, Grigny, D'Anglebert, and Bach's assimilation of French Classical organ music. | EarlyM | 21 | 1 | Feb 1993 | 83-84, 86-96 | |
| Williams, Peter F. | Two case studies in performance practice and the details of notation: 1. J. S. Bach and 2/4 Time. | EarlyM | 21 | 4 | Nov 1993 | 613-622 | |
| Williams, Peter F. | Two case studies in performance practice and the details of notation: 2: J. S. Bach and left-hand-right-hand distribution. | EarlyM | 22 | 1 | Feb 1994 | 101-113 | |
| Kroesbergen, Willem; Wentz, Jed | Sonority in the 18th century, un poco piů forte? | EarlyM | 22 | 3 | Aug 1994 | 482-495 | |
| Powell, Ardal; Lasocki, David | Bach and the Flute: The Players, the Instruments, the Music. | EarlyM | 23 | 1 | Feb 1995 | 9-10, 13-14, 17-29 | |
| Swack, Jeanne | Quantz and the Sonata in E flat major for flute and cembalo, BWV 1031. | EarlyM | 23 | 1 | Feb 1995 | 31-53 | |
| Fontijn, Claire A. | Quantz's unegal: Implications for the Performance of 18th-Century Music. | EarlyM | 23 | 1 | Feb 1995 | 54-62 | |
| Miller, Leta E. | C. P. E. Bach and Friedrich Ludwig Dülon: Composition and improvisation in late 18th-century Germany. | EarlyM | 23 | 1 | Feb 1995 | 65-76, 78-80 | |
| Kirnbauer, Martin; Thalheimer, Peter | Jacob Denner and the development of the flute in Germany. | EarlyM | 23 | 1 | Feb 1995 | 82-100 | |
| Boyd, Malcolm | Sacred Bach, echt and unecht. | EarlyM | 23 | 2 | May 1995 | 338 | |
| Searle, Arthur | Manuscripts and printed music. | EarlyM | 23 | 2 | May 1995 | 355-358 | |
| Watchorn, Peter | Isolde Ahlgrimm, 1914-1995. | EarlyM | 24 | 1 | Feb 1996 | 187-188 | |
| Parrott, Andrew | Bach's chorus: a 'brief yet highly necessary' reappraisal. | EarlyM | 24 | 4 | Nov 1996 | 551-580 | |
| Rifkin, Joshua | From Weimar to Leipzig: concertists and ripientists in Bach's 'Ich hatte viel Bekümmernis'. | EarlyM | 24 | 4 | Nov 1996 | 583-603 | |
| Koopman, Ton | Recording Bach's Early Cantatas. | EarlyM | 24 | 4 | Nov 1996 | 605-621 | |
| Searle, Arthur | Printed and Manuscript Music. | EarlyM | 25 | 1 | Feb 1997 | 159-164 | |
| Dirst, Matthew | Bach's French Overtures and the Politics of Overdotting. | EarlyM | 25 | 1 | Feb 1997 | 35-44 | |
| Abravaya, Ido | A French overture revisited: another look at the two versions of BWV 831. | EarlyM | 25 | 1 | Feb 1997 | 47-58, 60-61 | |
| Parrott, Andrew | Bach's chorus: who cares? | EarlyM | 25 | 2 | May 1997 | 297-302 | |
| Rifkin, Joshua | Bassoons, violins and voices: a response to Ton Koopman. | EarlyM | 25 | 2 | May 1997 | 303-307 | |
| Koopman, Ton | One-to-a-part? Who then turns the pages - More on Bach's chorus. | EarlyM | 25 | 3 | Aug 1997 | 541-542 | |
| Rifkin, Joshua | Page turns, players and ripieno parts: more questions of scoring in Bach's vocal music. | EarlyM | 25 | 4 | Nov 1997 | 728-731, 733-734 | |
| Koopman, Ton | Bach's choir, an ongoing story. | EarlyM | 26 | 1 | Feb 1998 | 109-121 | |
| Butt, John | Bach's vocal scoring: what can it mean? | EarlyM | 26 | 1 | Feb 1998 | 99-107 | |
| Rifkin, Joshua | Bach's Chorus: A neverending story? | EarlyM | 26 | 2 | May 1998 | 380-381 | |
| Wolff, Christoph | Bach's Chorus: Stomach aches may disappear! | EarlyM | 26 | 3 | Aug 1998 | 540-542 | |
| Parrott, Andrew | Bach's Chorus: beyond reasonable doubt. | EarlyM | 26 | 4 | Nov 1998 | 636-658 | |
| Wolff, Christoph | Bach's chorus: an amplification. | EarlyM | 27 | 1 | Feb 1999 | 172 | |
| Sawkins, Lionel; Burden, Michael; Pamplin, T. M.; Wollenburg, Susan | Bach's Chorus: A Plea for Mercy. | EarlyM | 27 | 1 | Feb 1999 | 172 | |
| Kirkpatrick, Gavin | Bach's chorus: an appreciation. | EarlyM | 27 | 1 | Feb 1999 | 173 | |
| Cooper, John Michael | Timpani Parts in German Baroque Music: The Schlagmanieren Revisited. | EarlyM | 27 | 2 | May 1999 | 249-264, 266 | |
| Rifkin, Joshua | Bach's chorus: not again! | EarlyM | 27 | 2 | May 1999 | 350 | |
| Wollenberg, Susan | 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 | Aug 1999 | 507 | |
| Sherman, Bernard D. | Bach's notation of tempo and early music performance: some reconsiderations. | EarlyM | 28 | 3 | Aug 2000 | 455-466 | |
| Johnson, David | Bach cello suites. | EarlyM | 28 | 4 | Nov 2000 | 660-661 | |
| Rose, Stephen | Bach cantatas in abundance. | EarlyM | 28 | 4 | Nov 2000 | 671-676 | |
| Marín, Miguel Angel | Bach comes to Dublin. Ninth Biennial Conference on Baroque Music, Trinity College, Dublin, 12-14 July 2000. | EarlyM | 28 | 4 | Nov 2000 | 678-679 | |
| Tassel, Eric van | Bach performance practice. Internationale Bachakademie, Stuttgart, 26-8 August 2000. | EarlyM | 28 | 4 | Nov 2000 | 679-680 | |
| Kevorkian, Tanya | The reception of the cantata during Leipzig church services, 1700-1750. | EarlyM | 30 | 1 | Feb 2002 | 26-45 | |
| Summerly, Jeremy | Lassus and Bach -- but not as we know them. | EarlyM | 30 | 4 | Nov 2002 | 634-636 | |
| Freemanová, Michaela; Mikanová, Eva | 'My honourable lord and father...': 18th-century English musical life through Bohemian eyes. | EarlyM | 31 | 2 | May 2003 | 210-231 | |
| Altschuler, Eric Lewin | Bach's singers. | EarlyM | 31 | 2 | May 2003 | 318 | |
| Oleskiewicz, Mary | Quantz's Quatuors and Other Works Newly Discovered. | EarlyM | 31 | 4 | Nov 2003 | 484-505 | |
| Geck, Martin | Bach's art of church music and his Leipzig performance forces: contradictions in the system. | EarlyM | 31 | 4 | Nov 2003 | 558-571 | |
| Rifkin, Joshua | Bach's chorus: some new parts, some new questions. | EarlyM | 31 | 4 | Nov 2003 | 573-580 | |
| Rose, Stephen | Bach and solo singers. | EarlyM | 31 | 4 | Nov 2003 | 628-629 | |
| Altschuler, Eric Lewin | Bach's singers. | EarlyM | 32 | 2 | May 2004 | 350 | |
| Lehman, Bradley | Bach's extraordinary temperament: our Rosetta Stone -- 1. | EarlyM | 33 | 1 | Feb 2005 | 3-24 | |
| Rose, Stephen | Daniel Vetter and the domestic keyboard chorale in Bach's Leipzig. | EarlyM | 33 | 1 | Feb 2005 | 39-53 | |
| Rose, Stephen | The Altbachisches Archiv. | EarlyM | 33 | 1 | Feb 2005 | 141-144 | |
| Lehman, Bradley | Bach's extraordinary temperament: our Rosetta Stone -- 2. | EarlyM | 33 | 2 | May 2005 | 211-232 | |
| Butt, John | Bach: cantatas and a passion. | EarlyM | 34 | 1 | Feb 2006 | 168-171 | |
| Lindley, Mark; Ortgies, Ibo | Bach-style keyboard tuning. | EarlyM | 34 | 4 | Nov 2006 | 613-623 | |
| O'Donnell, John | Bach's temperament, Occam's razor, and the Neidhardt factor. | EarlyM | 34 | 4 | Nov 2006 | 625-633 | |
| Wraight, Denzil | Recent approaches in understanding Cristofori's fortepiano. | EarlyM | 34 | 4 | Nov 2006 | 635-644 | |
| Yearsley, David | In Buxtehude's footsteps. | EarlyM | 35 | 3 | Aug 2007 | 339-353 | |
| Latcham, Michael | Pianos and harpsichords for Their Majesties. | EarlyM | 36 | 3 | Aug 2008 | 359-396 | |
| Lindley, Mark | More on temperament. | EarlyM | 36 | 4 | Nov 2008 | 678 | |
| Vanscheeuwijck, Marc | Recent re-evaluations of the Baroque cello and what they might mean for performing the music of J.S. Bach | EarlyM | 38 | 2 | May 2010 | 181-192 | |
| Nicholson, Graham | The unnatural trumpet. | EarlyM | 38 | 2 | May 2010 | 193-202 | |
| Madeuf, Jean-François | The revival of the natural trumpet in the Baroque repertory: utopian or not? | EarlyM | 38 | 2 | May 2010 | 203-204 | |
| Vervliet, Stijn; Van Looy, Bart | Bach's chorus revisited: Historically informed performance practice as 'bounded creativity' | EarlyM | 38 | 2 | May 2010 | 205-213 | |
| Glöckner, Andreas | On the performing forces of Johann Sebastian Bach's Leipzig church music. | EarlyM | 38 | 2 | May 2010 | 215-222 | |
| Parrott, Andrew | Bach's chorus: the Leipzig line - A response to Andreas Glöckner. | EarlyM | 38 | 2 | May 2010 | 223-235 | |
| Webber, Geoffrey | Buxtehude's Praeludia and the sonata publications of Corelli. | EarlyM | 38 | 2 | May 2010 | 249-261 | |
| Kuijken, Sigiswald | A Bach odyssey | EarlyM | 38 | 2 | May 2010 | 263-272 | |
| Robinson, Lucy | Canonic Bach for viols. | EarlyM | 38 | 2 | May 2010 | 310-313 | |
| Rifkin, Joshua | Bach's chorus: Against the wall. | EarlyM | 38 | 3 | Aug 2010 | 437-439 | |
| Fábián, Dorottya; Schubert, Emery | A new perspective on the performance of dotted rhythms. | EarlyM | 38 | 4 | Nov 2010 | 585-588 | |
| Swich, Luigi | Further thoughts on Bach's 1722 temperament. | EarlyM | 39 | 3 | Aug 2011 | 401-408 | |
| Knights, Francis | Early keyboards at Edinburgh. | EarlyM | 39 | 3 | Aug 2011 | 477 | |
| Glöckner, Andreas | 'The ripienists must also be at least eight, namely two for each part': The Leipzig line of 1730--some observations. | EarlyM | 39 | 4 | Nov 2011 | 575-586 | |
| Parrott, Andrew | J. S. Bach's Trauer-Music for Prince Leopold: clarification and reconstruction. | EarlyM | 39 | 4 | Nov 2011 | 587-596 | |
| Pardee, Katharine | Bach in Edinburgh. | EarlyM | 39 | 4 | Nov 2011 | 664-665 | |
| Rifkin, Joshua | Bach's chorus: more of the same. | EarlyM | 40 | 1 | Feb 2012 | 165-166 | |
| Schulenberg, David | Bach's temperament. | EarlyM | 40 | 1 | Feb 2012 | 166-167 | |
| Lindley, Mark | Bach's temperament. | EarlyM | 40 | 1 | Feb 2012 | 167 | |
| Lebedinski, Ester; Laube, Matthew | Baroque Conference. | EarlyM | 40 | 3 | Aug 2012 | 540-542 | |
| Leavis, Ralph | [A response to D. Ledbetter's 'Bach's meaning?' (review of book by C. Booth), EarlyM xxxix/3 (2011)] | EarlyM | 40 | 3 | Aug 2012 | 544 | |
| Moroney, Davitt | Gustav Leonhardt’s 'authenticity'. | EarlyM | 41 | 1 | Feb 2013 | 86-98 | |
| Schulenberg, David | Performing C. P. E. Bach: some questions answered? | EarlyM | 41 | 1 | Feb 2013 | 119-122 | |
| Wentz, Jed | Gustav Leonhardt, the Naarden circle and early music's reformation. | EarlyM | 42 | 1 | Feb 2014 | 3-12 | |
| Elste, Martin | From Landowska to Leonhardt, from Pleyel to Skowroneck: historicizing the harpsichord, from stringed organ to mechanical lute. | EarlyM | 42 | 1 | Feb 2014 | 13-22 | |
| Naulleau, Gaetan | Gustav Leonhardt's Bach cantata recordings: project, reception and style. | EarlyM | 42 | 1 | Feb 2014 | 37-54 | |
| Wilson, Glen | Bach's 'Art of Fugue': suggestions for the last gap. | EarlyM | 42 | 2 | May 2014 | 249-257 | |
| Booth, Colin | Bach's use of the single-note ornament in the 'Goldberg Variations'. | EarlyM | 42 | 2 | May 2014 | 259-272 | |
| Jerold, Beverly | Notes inégales: a definitive new parameter. | EarlyM | 42 | 2 | May 2014 | 273-289 | |
| Schulenberg, David | Carl Philipp Emanuel Bach: a tercentenary assessment. | EarlyM | 42 | 3 | Aug 2014 | 335-345 | |
| Richards, Annette | Listening for likeness, or C. P. E. Bach and the art of speculation. | EarlyM | 42 | 3 | Aug 2014 | 347-362 | |
| Dellal, Pamela | The songs of C. P. E. Bach: a performer's perspective. | EarlyM | 42 | 3 | Aug 2014 | 363-377 | |
| Corneilson, Paul | Organizing the complete works of C. P. E. Bach. | EarlyM | 42 | 3 | Aug 2014 | 379-387 | |
| Rathey, Markus | Rehearsal for the opera--remarks on a lost composition by Johann Kuhnau from 1683. | EarlyM | 42 | 3 | Aug 2014 | 409-420 | |
| Guyner, Sheila | C.P.E. Bach at the keyboard. | EarlyM | 43 | 2 | May 2015 | 364-365 | |
| Vaquero, Carlos | A quantitative study of seven historically informed performances of Bach's BWV1007 Prelude. | EarlyM | 43 | 4 | Nov 2015 | 611-622 | |
| Ozmo, Žak | 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 | Feb 2016 | 119-124 | |
| Tomita, Yo | Deciphering the performance hints hidden in J. S. Bach's quaver beams. | EarlyM | 44 | 1 | Feb 2016 | 89-104 | |
| Rathey, Markus | Printing, politics and 'a well-regulated church music': a new perspective on J. S. Bach's Mühlhausen cantatas. | EarlyM | 44 | 3 | Aug 2016 | 449-460 | |
| Frampton, Andrew | Bach in Cambridge. | EarlyM | 45 | 4 | Nov 2017 | 708-709 | |
| Cypess, Rebecca | How thorough was Bach's thoroughbass? A reconsideration of the trio texture. | EarlyM | 47 | 1 | Feb 2019 | 83-97 | |
| Cole, Warwick | Notation and the origins of Bach's Cello Suite in C minor (BWV 1011). | EarlyM | 47 | 2 | May 2019 | 241-254 | |
| Górny, Tomasz | Estienne Roger and his agent Adam Christoph Sellius: new light on Italian and French music in Bach's world. | EarlyM | 47 | 3 | Aug 2019 | 361-370 | |
| Göncz, Zoltán | In search of the lost parts of Bach's cantata Singet dem Herrn ein neues Lied (BWV 190). | EarlyM | 47 | 4 | Nov 2019 | 515–532 | |
| Wilkinson, Tom | More Bach in Cambridge. | EarlyM | 47 | 4 | Nov 2019 | 612–614 | |
| Bania, Maria; Skowroneck, Tilman | Affective practices in mid-18th-century German music-making: reflections on C. P. E. Bach's advice to performers. | EarlyM | 48 | 2 | 2020 | 193-203 | |
183 matches.
