| Author |
Title |
Series |
Vol |
No |
Year |
Pages |
NB |
| Barbour, J. Murray | Irregular Systems of Temperament. | JAMSoc | 1 | 3 | Autumn 1948 | 20-26 | |
| Kinkeldey, Otto | Bach Self-Embellished. | JAMSoc | 2 | 3 | Autumn 1949 | 197-198 | |
| Barbour, J. Murray | More on the Leipzig Organ Tuning. | JAMSoc | 3 | 1 | Spring 1950 | 41-44 | |
| Haydon, Glen | On the Problem of Expression in Baroque Music. | JAMSoc | 3 | 2 | Summer 1950 | 113-119 | |
| Ulrich, Homer | The Nationality of Bach's Solo-Violin Partitas. | JAMSoc | 3 | 2 | Summer 1950 | 155-156 | |
| Scheide, William H. | Luther and Bach's Cantata 50. | JAMSoc | 4 | 1 | Spring 1951 | 36-39 | |
| Appel, Richard G. | The Bach chorales - a Bicentenary Summary and Survey of the Different Editions of the Collections of the Chorales. | JAMSoc | 4 | 1 | Spring 1951 | 62-63 | |
| Moss, Marshall | Use of the Bach Bow in the Performance of His Sonatas. | JAMSoc | 4 | 3 | Autumn 1951 | 273 | |
| Buszin, Walter E. | Lutheran Theology as Reflected in the Life and Works of J. S. Bach. | JAMSoc | 4 | 3 | Autumn 1951 | 273-274 | |
| Mintz, Donald | Aspects of the Revival of Bach. | JAMSoc | 6 | 2 | Summer 1953 | 189-190 | |
| Powell, Newman W. | Early Keyboard Fingering and its Effect on Articulation. | JAMSoc | 6 | 3 | Autumn 1953 | 252-253 | |
| Newman, William S. | Some Familiar Questions of Performance Practices in Bach's Keyboard Music. | JAMSoc | 9 | 1 | Spring 1956 | 59-60 | |
| Varro, Margit | A Bach Fugue Analyzed in Poetry. | JAMSoc | 11 | 2-3 | Summer-Autumn 1958 | 251 | |
| Simon, Edwin J. | A Royal Manuscript: Ensemble Concertos by J. C. Bach. | JAMSoc | 12 | 2-3 | Summer-Autumn 1959 | 161-177 | |
| David, Hans T. | A Lesser Secret of J. S. Bach Uncovered. | JAMSoc | 14 | 2 | Summer 1961 | 199-223 | |
| Kirkendale, Warren | More Slow Introductions by Mozart to Fugues of J. S. Bach? | JAMSoc | 17 | 1 | Spring 1964 | 43-65 | |
| Mendel, Arthur | More on the Weimar Origin of Bach's 'O Mensch, bewein' (BWV 244/35). | JAMSoc | 17 | 2 | Summer 1964 | 203-206 | |
| Neumann, Frederick | The French 'Inégeles', Quantz, and Bach. | JAMSoc | 18 | 3 | Autumn 1965 | 313-358 | |
| Collins, Michael | The Performance of Triplets in the 17th and 18th Centuries. | JAMSoc | 19 | 3 | Autumn 1966 | 281-328 | |
| Jander, Owen | Staff-liner Identification: a Technique for the Age of Mcrofilm. | JAMSoc | 20 | 1 | Spring 1967 | 112-116 | |
| Babitz, Sol | Notes Inégales: A Communication. | JAMSoc | 20 | 3 | Autumn 1967 | 473-476 | |
| Byrt, John | Notes Inégales - Some Misconceptions? | JAMSoc | 20 | 3 | Autumn 1967 | 476-480 | |
| Collins, Michael | Notes Inégales: A Re-examination. | JAMSoc | 20 | 3 | Autumn 1967 | 481-485 | |
| Dürr, Alfred | [List of missing MSS after World War II.] | JAMSoc | 21 | 1 | Spring 1968 | 121-123 | |
| Terry, Miriam | C.P.E. Bach and J.J.H. Westphal--A Clarification. | JAMSoc | 22 | 1 | Spring 1969 | 106-115 | |
| Brainard, Paul | Bach's Parody Procedure and St. Matthew Passion. | JAMSoc | 22 | 2 | Summer 1969 | 241-260 | |
| Jacobi, Erwin R. | Five hitherto unknown letters from C.P.E. Bach to J.J.H. Westphal. | JAMSoc | 23 | 1 | Spring 1970 | 119-127 | |
| Plantinga, Leon B. | Clementi, Virtuosity, and the 'German Manner'. | JAMSoc | 25 | 3 | Autumn 1972 | 303-330 | |
| Jacobi, Erwin R. | Three Additional Letters from C. P. E. Bach to J. J. H. Westphal. | JAMSoc | 27 | 1 | Spring 1974 | 119-125 | |
| Little, Meredith Ellis | The Contribution of Dance Steps to Musical Analysis and Performance: 'La Bourgogne'. | JAMSoc | 28 | 1 | Spring 1975 | 112-124 | |
| Buck, Charles H., III | Revisions in Early Clavier Concertos of C. P. E. Bach: Revelations from a New Source. | JAMSoc | 29 | 1 | Spring 1976 | 127-132 | |
| Wolff, Christoph | Bach's 'Handexemplar' of the Goldberg Variations: A New Source. | JAMSoc | 29 | 2 | Summer 1976 | 224-241 | |
| Seaton, Douglass | A Draft for the Exposition of the First Movement of Mendelssohn's 'Scotch' Symphony. | JAMSoc | 30 | 1 | Spring 1977 | 129-135 | |
| Lester, Joel | Major-Minor Concepts and Modal Theory in Germany, 1592-1680. | JAMSoc | 30 | 2 | Summer 1977 | 208-253 | |
| Rivera, Benito V. | Bach's Use of Hitherto Unrecognized Types of Countersubjects in the 'Art of Fugue'. | JAMSoc | 31 | 2 | Summer 1978 | 344-362 | |
| Kirkendale, Warren | Ciceronians versus Aristotelians on the Ricercar as Exordium, from Bembo to Bach. | JAMSoc | 32 | 1 | Spring 1979 | 1-44 | |
| Berg, Darrell M. | Towards a catalogue of the keyboard sonatas of C. P. E. Bach. | JAMSoc | 32 | 2 | Summer 1979 | 276-303 | |
| Dreyfus, Laurence | J. S. Bach's Experiment in Differentiated Accompaniment: Tacet Indications in the Organ Parts to the Vocal Works. | JAMSoc | 32 | 2 | Summer 1979 | 321-334 | |
| Marshall, Robert L. | J. S. Bach's Compositions for Solo Flute: A Reconsideration of their Authenticity and Chronology. | JAMSoc | 32 | 3 | Autumn 1979 | 463-498 | |
| Kirkendale, Ursula | The Source for Bach's Musical Offering: The Institutio Oratoria of Quintilian. | JAMSoc | 33 | 1 | Spring 1980 | 88-141 | |
| Harris, Ellen T. | The Italian in Handel. | JAMSoc | 33 | 3 | Autumn 1980 | 468-500 | |
| Brown, Howard Mayer | Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance. | JAMSoc | 35 | 1 | Spring 1982 | 1-48 | |
| Chafe, Eric T. | J. S. Bach's 'St. Matthew Passion': Aspects of Planning, Structure, and Chronology. | JAMSoc | 35 | 1 | Spring 1982 | 49-114 | |
| Kramer, Richard A. | The new modulation of the 1770s: C.P.E. Bach in theory, criticism, and practice. | JAMSoc | 38 | 3 | Autumn 1985 | 551-592 | |
| Spitzer, John; Zaslaw, Neal | Improvised Ornamentation in Eighteenth-Century Orchestras. | JAMSoc | 39 | 3 | Autumn 1986 | 524-577 | |
| Silber, Judith | Mendelssohn and His 'Reformation' Symphony. | JAMSoc | 40 | 2 | Summer 1987 | 310-336 | |
| Melamed, Daniel R. | The Authorship of the Motet 'Ich lasse dich nicht' (BWV Anh. 159). | JAMSoc | 41 | 3 | Autumn 1988 | 491-526 | |
| Swack, Jeanne R. | On the Origins of the Sonate auf Concertenart. | JAMSoc | 46 | 3 | Autumn 1993 | 369-414 | |
| Yearsley, David | Alchemy and Counterpoint in an Age of Reason | JAMSoc | 51 | 2 | Summer 1998 | 201-243 | |
| Berg, Darrell M. | C. P. E. Bach's Organ Sonatas: A Musical Offering for Princess Amalia? | JAMSoc | 51 | 3 | Autumn 1998 | 477-519 | |
| Head, Matthew | 'If the Pretty Little Hand Won't Stretch': Music for the Fair Sex in Eighteenth-Century Germany. | JAMSoc | 52 | 2 | Summer 1999 | 203-254 | |
| Lester, Joel | Heightening Levels of Activity and J. S. Bach's Parallel-Section Constructions. | JAMSoc | 54 | 1 | Spring 2001 | 49-96 | |
| Melamed, Daniel R. | The Double Chorus in J. S. Bach's St. Matthew Passion BWV 244. | JAMSoc | 57 | 1 | Spring 2004 | 3-50 | |
| Bent, Ian D. | 'That Bright New Light': Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901-1910. | JAMSoc | 58 | 1 | Spring 2005 | 69-138 | |
| Zohn, Steven | Telemann in the Marketplace: The Composer as Self-Publisher. | JAMSoc | 58 | 2 | Summer 2005 | 275-356 | |
| Richards, Annette | Carl Philipp Emanuel Bach: portraits, and the physiognomy of music history. | JAMSoc | 66 | 2 | Summer 2013 | 337-396 | |
56 matches.
