Riemenschneider Bach Institute

 

BACH Journal: Cumulative Index - [A] [B] [C]

AUTHOR-TITLE-SUBJECT INDEX--CUMULATIVE-1970-2011


1887: From Johannes Brahms to Robert Kahn: 1887, HELMUTH RILLING (Litterae ab musicis), Vol. VI/4 (1975), 20-22.

A Major Mass: Missa Brevis and Historia: Bach's A Major Mass, ALFRED MANN, XVI/1 (1985), 6-11.

A-Major Mass: Parody and Theological Consistency: Notes on Bach's A-Major Mass, ROBIN A. LEAVER, Vol. XXI/3 (1990), 30-43.

ABBREVIATIONS Vol. XX/2 (1989), 3. Vol. XX/3 (1989), 3. Vol. XXI/1 (1990), 2. Vol. XXI/3 (1990), 3. Vol. XXII/1 (1991), 4. Vol. XXII/2 (1991), 3. Vol. XXIII/1 (1992), 2. Vol. XXIII/2 (1992), 4. Vol. XXIV/1 (1993), 3. Vol. XXIV/2 (1993), 47. Vol. XXV/1 (1994), 3. Vol. XXVII/2 (1996), 87-89. Vol. XXVIII/1-2 (1997), 239. ***

ABOUT OUR AUTHORS Vol. III/2 (1972), 44. Vol. III/3 (1972), 39. Vol. III/4 (1972), 40, Vol. IV/1 (1973), 15. Vol. IV/2 (1973), 24. Vol. IV/3 (1973), 17. Vol. IV/4 (1973), 17. Vol. V/2 (1974), 51. Vol. V/3 (1974), 42. Vol. V/4 (1974), 31. Vol. VI/1 (1975), 40. Vol. VI/2 (1975), 26. Vol. VI/3 (1975), 10. Vol. VI/4 (1975), 36. Vol. VII/1 (1976), 11. Vol. VII/2 (1976), 13. Vol. VII/3 (1976), 24. Vol. VII/4 (1976), 30. Vol. VIII/1 (1977), 17. Vol. VIII/3 (1977), 2. Vol. VIII/4 (1977), 10. Vol. IX/1 (1978), 29. Vol. IX/2 (1978), 27. Vol. IX/3 (1978), 32. Vol. IX/4 (1978), 10. Vol. X/1 (1979), 31. Vol. X/2 (1979), 26. Vol. X/3 (1979), 30. Vol. X/4 (1979), 30. Vol. XI/2 (1980), 20. Vol. XI/3 (1980), 8. Vol. XI/4 (1980), 2. Vol. XII/1 (1981), 12. Vol. XII/2 (1981), 10. Vol. XII/3 (1981), 29. Vol. XII/4 (1981), 21. Vol. XIII/3 (1982), 35. Vol. XIII/4 (1982), 7. Vol. XIV/1 (1983), 11. Vol. XIV/3 (1983), 17. Vol. XIV/4 (1983), 2. Vol. XV/1 (1984), 2. Vol. XV/2 (1984), 2. Vol. XV/3 (1984), 2. Vol. XV/4 (1984), 3. Vol. XVI/1 (1985), 3-5. Vol. XVI/2 (1985), 18-19. Vol. XVI/3 (1985), 35-36. Vol. XVI/4 (1985), 32-33. Vol. XVII/1 (1986), 2. Vol. XVII/2 (1986), 2. Vol. XVII/3 (1986), 2. Vol. XVII/4 (1986), 2. Vol. XVIII/1 (1987), 2. Vol. XVIII/2 (1987), 3. Vol. XVIII/3 (1987), 2. Vol. XVIII/4 (1987), 3. Vol. XIX/1 (1988), 5. Vol. XIX/2 (1988), 2. Vol. XIX/3 (1988), 3. Vol. XX/1 (1989), 68. Vol. XX/2 (1989), 75. Vol. XX/3 (1989), 50. Vol. XXI/1 (1990), 60. Vol. XXI/2 (1990), 55 Vol. XXI/3 (1990), 47. Vol. XXII/1 (1991), 63. Vol. XXII/2 (1991), 62. Vol. XXIII/1 (1992), 51. Vol. XXIII/2 (1992), 63. Vol. XXIV/1 (1993), 47. Vol. XXIV/2 (1993), 46. Vol. XXV/1 (1994), 60. Vol. XXV/2 (1994), 130-136. Vol. XXVI/1-2 (1995), 103. Vol. XXVII/1 (1996), 90.Vol. XXVII/2 (1996), 86. Vol. XXVIII/1-2 (1997), 237.

ADAMS, COURTNEY S. Organization in the Two-Part Inventions of Johann Sebastian Bach, Part I, Vol. XIII/2 (1982), 6-16; Part II, Vol. XIII/3 (1982), 12-19.

Adapting Bach's Final Weimar Cantata for Performance in Leipzig: Liturgical and Musical Considerations in Cantata 147, MARK A. PETERS, Vol. XXXI/1 (2000), 58-73.

Agricola: J. F. Agricola's Anleitung zur Singkunst: A Rich Source by a Pupil of J. S. Bach, ERNEST C. HARRISS, Vol. IX/3 (1978), 2-8.

AHRENS, CHRISTIAN. Johann Sebastian Bach and The "New Gusto" in Music Around 1740, Vol. XXXIII/1 (2002), 69-83.

Albert Riemenschneider: A Portrait of the Founder of Baldwin Wallace University's Conservatory on the Occasion of its 100th Anniversary, ELINORE L. BARBER, Vol. XXIX/2 (1998), 1-7.

Albert Schweitzer Writes Concerning the Formulation of His Reverence for Life Ethic, Atomic Weapons, and the Günsbach Organ, ALBERT SCHWEITZER (Litterae ab musicis). Vol. II/2 (1971), 20-21.

Alumni and Externals in the Choirs of the Thomas School during Bach's Time, ANDREAS GLÖCKNER, Vol. XL/1 (2009), 1-34.

AMBROSE, JANE. Madness and Music: Handel's Porphyric Patron, George III, Vol. XXVII/1 (1996), 57-65.

AMBROSE, JANE. Notations on Mattheson's Der brauchbare Virtuoso, Vol. XVII/3 (1986), 3-9. Reprint, Vol. XXV/2 (1994), 91-98.

AMBROSE, JANE. The Bach Flute Sonatas: Recent Research and a Performer's Observations, Vol. XI/3 (1980), 32-45.

AMBROSE, Z. PHILIP. Another Lament in Weinen, Klagen, Sorgen, Zagen, Vol. XIII/3 (1982), 20-22.

American Cultural Life: Riemenschneider Collection Relating to American Cultural Life, Vol. XII/4 (1981), 14-15.

American Image of Bach from a German Emigré’s Perspective: Gerhard Herz and the Modern American Bach Movement, The. ANNE LEAHY, Vol. XL (2009), 58-79.

American Music: 1600-1750, LAWRENCE HARTZELL, Part I, The Spanish Colonies, Vol. VII/3 (1976), 3-6; Part II, The English Colonies, Vol. VII/4 (1976), 26-30; Part III, The German Colonies Vol. VIII/1 (1977), 18-22.

An Enigmatic Legacy: Two Instrumental Works Attributed to Wilhelm Friedemann Bach, DAVID SCHULENBERG, Vol. LX/2 (2010), 24-60.

An Introduction to Beiträge zur Bachforschung, Vol. XVIII/1 (1987), 22-24.

Analysis of Spectra in J. S. Bach's Prelude and Fugue, BWV 552, TIMOTHY CORIS, Vol. XXXVII/1 (2006), 26-49.

ANNOUNCEMENTS Vol. XIII/2 (1982), 28. Vol. XIX/1 (1988), 3-4. Vol. XIX/3 (1988), 2-3. Vol. XX/3 (1989), 51-52. Vol. XXII/1 (1991), 62. Vol. XXII/2 (1991), 58-61. Vol. XXIV/2 (1993), 38. Vol. XXV/1 (1994), 57-58. See also Publications, Announcements, and Corrections. ***

Anomalies of Tonart and Stimmton in the First Version of Bach's Magnificat (BWV 243a), DON L. SMITHERS, Vol. XXVII/2 (1996), 1-59.

Another Lament in Weinen, Klagen, Sorgen, Zagen, Z. PHILIP AMBROSE, Vol. XIII/3 (1982), 20-22.

APPEL, RICHARD G. J. S. Bach and the Bay Psalm Book, Vol. I/3 (1970), 22-24.

Apropos Bach's Inventions, E. FRED FLINDELL, Part I, Forkel's Report, Vol. XIV/4 (1983), 3-14; Part II, Athanasius Kircher, Christoph Bernhard, and J. G. Walther, Vol. XV/1 (1984), 3-16; Part III, J. A. Reincken, Andreas Werckmeister, and Meinrad Spiess, Vol. XV/2 (1984), 3-17.

Arias: Bach, Theology, and Harmony: A New Look at the Arias, STEPHEN A. CRIST, Vol. XXVII/1 (1996), 1-30.

Arias: Bach's Earliest Arias, MIRIAM K. WHAPLES, Vol. XX/1 (1989), 31-54.

Arias: Stylistic Analysis and Text Philology in the Service of "Inner" Chronology" Involving Stylistic Analyses of Selected Arias by Johann Sebastian Bach, REINMAR EMANS (Ian Macredie, Elinore Barber, and Alfred Mann, Translators), Vol. XXVI/1-2, 1-14.

Art of Fuge: J. S. Die Kunst der Fuge, Leipzig, 1751-1752 (Bach Tercentenary Facsimile Project), Vol. XI/4 (1980), 32-36; Vol. XII/1 (1981), 30-35; Vol. XII/2 (1981) 20-27; Vol. XII/3 (1981), 30-36; Vol. XII/4 (1981), 28-35; Vol. XIII/1 (1982), 2-44.

Art of the Fugue: A Collation of the Expositions in Die Kunst der Fuge of J. S. Bach, ADEL HEINRICH, Vol. XII/2 (1981), 28-40.

Art of the Fugue: Bach, J. S. Die Kunst der Fuge, Leipzig, 1751-1752 (Bach Tercentenary Facsimile Project), Vol. XI/4 (1980), 32-36; Vol. XII/1 (1981), 30--35; Vol. XII/2 (1981) 20-27; Vol. XII/3 (1981), 30-36; Vol. XII/4 (1981), 28-35; Vol. XIII/1 (1982), 2-44.

Art of the Fugue: Bach's "Incomplete" Quadruple Fugue from Die Kunst der Fuge (1752 Edition Print Held by the Riemenschneider Bach Institute), ELINORE L. BARBER, Vol. XVII/4 (1986), 24-29.

Art of the Fugue: Notes on the Art of the Fugue: A Fragment, ERNEST LIVINGSTONE, Vol. XXVIII/1-2 (1997), 82-86.

Art of the Fugue: Significance of the Original Subject and its Variants in Bach's Die Kunst der Fuge, ADEL HEINRICH, Vol. XV/3 (1984), 24-32.

Art of the Fugue, The, HANS T. DAVID, Vol. I/3 (1970), 5-21.

Articulation: Fully Notated Articulation in Bach's Mature Keyboard Music, JOHN BOE, Part I, Vol. VII/1 (1976), 12-19; Part II, Vol. VII/2 (1976), 14-22.

Articulation: More on Articulation in J. S. Bach's Keyboard Music (From Our Readers), GEORGE KOCHEVITSKY, Vol. VIII/1 (1977), 25-29.

Articulation: Performing Bach's Keyboard Music - Articulation, GEORGE A. KOCHEVITSKY, Vol. IV/1 (1973), 21-25.

Articulation: Problems of Articulation in Baroque Keyboard Music (At the Piano or the Organ), BEATRICE GANZ, Vol. VII/2 (1976), 3-13.

[The] Augmentation Canon in J. S. Bach's Musicalisches Opfer, Vol. XXXVII/1 (2006), 50-77.

AUTHORS, THE: Vol. XX/1 (1989), 68.- Vol. XX/2 (1989), 75. Vol. XX/3 (1989), 50. Vol. XXI/1 (1990), 60. Vol. XXI/2 (1990), 55. Vol. XXI/3 (1990), 47. Vol. XXII/1 (1991), 63. Vol. XXII/2 (1991), 62. Vol. XXIII/1 (1992), 51. Vol. XXIII/2 (1992), 63.
B Minor Mass: Bach the Cantor, the Capellmeister, and the Musical Scholar: Aspects of the B-Minor Mass, CHRISTOPH WOLFF, Vol. XX/1 (1989), 55-64.

B Minor Mass: Friedrich Smend's Edition of the B-Minor Mass by J. S. Bach, from the German of GEORG VON DADELSEN (JAMES A. BROKAW, II, Translator), Vol. XX/2 (1989), 49-74.

B Minor Mass: Lombard Rhythm in the Domine Deus of Bach's B-Minor Mass - An Old Controversy Resolved, GERHARD HERZ, Vol. VIII/1 (1977), 3-11.

B Minor Mass: Number Associations in the Structure of Bach's Credo BWV 232, ROBIN A. LEAVER, Vol. VII/3 (1976), 17-24.

B Minor Mass: Universality in Bach's B Minor Mass: A Portrait of Bach in his Final Years (In Memoriam Dietrich Kilian), YOSHITAKE KOBAYASHI, (JEFFREY BAXTER, Translator), Vol. XXIV/2 (1993), 3-25.

B-A-C-H: A Footnote to "Bach and the B-A-C-H Motive," EWALD V. NOLTE (From Our Readers), Vol. II/3 (1971), 37.

B-A-C-H: Bach and B-A-C-H Motive, ELINORE L. BARBER, Vol. II/2 (1971), 3-5.

B-A-C-H: Further Thoughts on B-A-C-H, ROBIN A. LEAVER (From Our Readers), Vol. II/4 (1971), 36-37.

BABITZ, SOL. (From Our Readers), Vol. III/2 (1972), 40-43; Vol. III/3 (1972), 43-44; Vol. V/1 (1974), 33-34; Vol. V/2 (1974), 50; Vol. VI/1 (1975), 36-39; Vol. VIII/2 (1977), 26-27.

Bach Adds a Tempo Mark?, ELINORE L. BARBER, Vol. I/2 (1970), 3-5.

Bach and Approaches to Canonic Composition in Early Eighteenth-Century Theoretical and Chamber Music Sources. DENIS COLLINS, Vol. XXX/2 (1999), 27-48.

Bach and B-A-C-H Motive, ELINORE L. BARBER, Vol. II/2 (1971), 3-5.

Bach and Cultural History: Truth and Beauty: J. S. Bach at the Crossroads of Cultural History, ROBERT L. MARSHALL, Vol. XXI/2 (1990), 3-14.

Bach and Leipzig: Leipzig's Rejection of J. S. Bach, ROBIN A. LEAVER, Part I, Vol. III/3 (1972), 27-39; Part II, Vol. III/4 (1972), 3-7.

Bach and Luther, ROBIN A. LEAVER, Vol. IX/3 (1978), 9-12 and 25-32.

Bach and Mozart: Styles of Musical Genius, ROBERT L. MARSHALL, Vol. XXII/1 (1991), 16-32.

Bach and the Beer Fiddlers, WALTER SCHENKMAN, Vol. XXVI/1-2 (1995), 48-56.

Bach and the Story of an "Aria Tempo Di Polonaise" for Joachim Friedrich Flemming, SZYMON PACZKOWSKI, Vol. XXXVIII/2 (2007), 64-98.

Bach and His Early Drafts: Some Observations on Little Known Early Versions of Well-Tempered Clavier II and the Goldberg Variations from the Manfred Gorke Collection, YO TOMITA, Vol. XXX/2 (1999), 49-73.

Bach and the Middle Ages, E. FREDERICK FLINDELL, Vol. XXXVI/2 (2005), 1-119.

Bach, Anna Magdalena: J. S. BACH, Suite 4 à Violoncello solo senza Basso (BWV 1010), A Manuscript Copy in the Hand of Anna Magdalena Bach, Vol. XXIX/1 (1998), 38-46.

Bach at Mid-Life: The Christmas Oratorio and the Search for New Paths, ROBERT L. MARSHALL, Vol. XL/1 (2012), 1-28,

Bach Autograph in Tokyo: In Tokyo: A Little-Known Bach Autograph, MICHAEL GOLDSTEIN (GEORGE KOCHEVITSKY, Translator), Vol. IX/2 (1978), 33-36.

Bach Borrowing by Gluck: Another Frontier, A., GEORGE J. BUELOW, Vol. XXII/1 (1991), 43-61.

Bach Flute Sonatas, The: Recent Research and a Performer's Observations, JANE AMBROSE, Vol. XI/3 (1980), 32-45.

Bach Form-A Letter and a Ground Plan, HANS T. DAVID, Vol. I/2 (1970), 14-17.

Bach Form-Ground Plans, HANS T. DAVID, Vol. I/1 (1970), 15-16.

Bach, Handel, and Relative Success, HANS LENNEBERG, Part I, Vol. XII/4 (1981), 22-27; Part II, Vol. XIII/2 (1982), 17-22.

Bach Holograph: Hans T. David Disclaims the Authenticity of a "Bach Holograph" (Litterae ab musicis), Vol. I/4 (1970), 31-32.

Bach in Leipzig: Thoughts on Bach's Leipzig Creative Years, RUDOLF ELLER, (STEPHEN A. CRIST, Translator), Vol. XXI/2 (1990), 31-54.

Bach in Lübeck: To Lübeck in the Steps of J. S. Bach, KERALA J. SNYDER, Vol. XX/2 (1989), 38-48.

Bach in Nineteenth-Century America: Johann Sebastian Bach in Nineteenth-Century America, KARL KROEGER, Vol. XXII/1 (1991), 33-42.

Bach in Our Time, PAUL A. PISK, Vol. IV/3 (1973), 13-17.

Bach Interpretation: Currents in Bach Interpretation in Contemporary Germany, NICHOLAS BAUMGARNER, Vol. XXX/2 (1999), 1-26.

Bach, J. S. Chromatische Fantasie und Fuge D-Moll (Vault Holdings), Vol. II/3 (1971), 23-24.

Bach, J. S. Clavier Ubung, Opus 1, 1731 (Vault Holdings), Vol. II/2 (1971), 22.

Bach, J. S. Clavier Übung IV [The "Goldberg" Variations], NIImberg [ca. 17421 (Bach Tercentenary Facsimile Project), Vol. XI/1 (1980), 2-40.

Bach, J. S. Die Kunst der Fuge, Leipzig, 1751-1752 (Bach Tercentenary Facsimile Project), Vol. XI/4 (1980), 32-36; Vol. XII/1 (1981), 30-35; Vol. XII/2 (1981) 20-27; Vol. XII/3 (1981), 30-36; Vol. XII/4 (1981), 28-35; Vol. XIII/1 (1982), 2-44.

Bach, J. S. Four-Part Chorales (Vault Holdings), Vol. II/4 (1971), 15-16.

Bach, J. S. Magnificat in E-flat Major (Vault Holdings), Vol. II/1 (1971), 37.

Bach, J. S. Musicalische Opfer, Zella St. Blasii: J. G. J. G. Schübler [1747] (Bach Tercentenary Facsimile Project), Vol. XI/2 (1980), 29-36; Vol. XI/3 (1980), 24-31.

BACH, J. S. Suite 4 à Violoncello solo senza Basso (BWV 1010), A Manuscript Copy in the Hand of Anna Magdalena Bach, Vol. XXIX/1 (1998), 38-46.

Bach, Luther, and the Magnificat, MICHAEL LINTON, Vol. XVII/2 (1986), 3-15.

Bach Research: An Introduction to Beiträge zur Bachforschung, Vol. XVIII/1 (1987), 22-24.

Bach-Scheibe Controversy: New Documentation, The, BEVERLY JEROLD, Vol. XLII/2 (2011), 1-45.

Bach Signature in the Possession of Gerhard Herz, A, GERHARD HERZ (Vault Holdings) - Tercentenary Facsimile Publication Project, Vol. DU4 (1978), 23-24.

Bach Studies: An Introduction to Beiträge zur Bachforschung, RUSSELL STINSON, Vol. XVIII/1 (1987), 22-24.

Bach Studies from Dublin, Edited by Anne Leahy and Yo Tomita [Review], KERRY MCCARTHY, Vol. XXXVI (2005), 97-100.

Bach Tercentenary Issues of Periodicals: A Selected Bibliography, RUSSELL STINSON, Vol. XVII/4 (1986), 17-23.

Bach the Cantor, the Capellmeister, and the Musical Scholar: Aspects of the B-Minor Mass, CHRISTOPH WOLFF, Vol. XX/1 (1989), 55-64.

Bach, Theology, and Harmony: A New Look at the Arias, STEPHEN A. CRIST, Vol. XXVII/1 (1996), 1-30.

Bach Title Pages: English Translations of Bach Title Pages, HANS T. DAVID, Vol. II/3 (1971), 38-39.

Bach Year in America, The 1985, [New Bach Society Request], Vol. XIII/2 (1982), 28.

BACH ANALYSES: J. S. Bach's Fugue E Minor from The Well-Tempered Clavier (Book I), HANS T. DAVID, Vol. II/3 (1971), 15-16. J. S. Bach's Prelude in E Minor from The Well-Tempered Clavier (Book I), HANS T. DAVID, Vol. II/2 (1971), 18-19. Johann Sebastian Bach's Great Mass, HANS T. DAVID, Vol. II/1 (1971), 29-32.

BACH, JOHANN CHRISTIAN. Aria II from Act I, Temistocle (Vault Holdings), Vol. II/2 (1971), 23.
BACH TERCENTENARY FACSIMILE PUBLICATION PROJECT Vol. VIII/3 (1977), 13-25. Vol. VIII/4 (1977), 11-22. Vol. IX/1 (1978), 15-22. Vol. IX/2 (1978), 17-27. Vol. IX/3 (1978), 13-24. Vol. IX/4 (1978), 11-22. Vol. IX/4 (1978), 23-24. Vol. X/1 (1979), 13-25. Vol. X/2 (1979), 9-12. Vol. X/3 (1979), 32-39. Vol. X/4 (1979), 9-18. Vol. XI/1 (1980), 2-40. Vol. XI/2 (1980), 29-36. Vol. XI/3 (1980), 24-31. Vol. XI/4 (1980), 32-36. Vol. XII/1 (1981), 30-35. Vol. XII/2 (1981), 20-27. Vol. XII/3 (1981), 30-36. Vol. XII/4 (1981), 28-35. Vol. XIII/1 (1982), 2-44. Vol. XIII/2 (1982), 29-36. Vol. XIII/3 (1982), 23-34. Vol. XIII/4 (1982), 14-29. Vol. XIV/1 (1983), 29-39. Vol. XIV/2 (1983), 3-60. Vol. XIV/3 (1983), 31-44. Vol. XIV/4 (1983), 25-35. Vol. XV/1 (1984), 36-43. Vol. XV/2 (1984), 29-43. Vol. XV/3 (1984), 33-36. Vol. XV/4 (1984), 37-52.

Bach's Artistic Creed: Bach's Problems and Artistic Creed, HANS T. DAVID, Vol. I/2 (1970), 6-13.

Bach's Clavierübung III, CHRISTOPH TRAUTMANN, (ALFRED MANN, Translator), Vol. XV/3 (1984), 3-11.

Bach's Conception of His Office, HOWARD H. COX, Vol. XX/1 (1989), 22-30.

Bach's Critics: J. S. Bach and the Critics, ELINORE L.BARBER, Vol. II/3 (1971), 4-6.

Bach's Dialogue with Modernity by John ButtWILLIAM R. EVERDELL, rev., Vol. XL/1 (2012), 84-89.

Bach's Earliest Arias, MIRIAM K. WHAPLES, Vol. XX/1 (1989), 31-54.

Bach's First Two Leipzig Cantatas: The Question of Meaning Revisited, MELVIN P. UNGER, Vol. XXVIII/1-2 (1997), 87-125.

Bach's Image: Toward a New Image of Bach, GERHARD HERZ, Vol. I/4 (1970), 9-27; Part II, Vol. II/1 (1971), 7-28. Reprint, Vol. XVI/1 (1985), 12-52.

Bach's "Incomplete" Quadruple Fugue from Die Kunst der Fuge (1752 Edition Print Held by the Riemenschneider Bach Institute), ELINORE L. BARBER, Vol. XVII/4 (1986), 24-29.

Bach's Inventions, E. FRED FLINDELL, Part I, Forkel's Report, Vol. XIV/4 (1983), 3-14; Part II, Athanasius Kircher, Christoph Bernhard, and J. G. Walther, Vol. XV/1 (1984), 3-16; Part III, J. A. Reincken, Andreas Werckmeister, and Meinrad Spiess, Vol. XV/2 (1984), 3-17.

Bach's Lament about Leipzig's Professional Instrumentalists, BEVERLY JEROLD, Vol. XXXVI/1 (2005), 67-96.

Bach's Library: The Calov Bible from Bach's Library, ROBIN A. LEAVER, Vol. VII/4 (1976), 16-22.

Bach's Library: The Valuation of Bach's Library, ROBIN A. LEAVER, Vol. IX/2 (1978), 28-32.

Bach's Model(s) of "Good Inventiones" JULIUS HERFORD (Notizbuch für Studenten), Part I, Vol. II/4 (1971), 10-14; Part II, Vol. III/1 (1972), 27-30; Part III, Vol. III/2 (1972), 28-30.

Bach's Models of "Good Inventiones" - How to Develop the Same Well, JULIUS HERFORD, Vol. IV/1 (1973), 16-20.

Bach's Newly Discovered Canons in a First Edition: Some Observations, RANDOLPH N. CURRIE, Part I, Vol. VIII/2 (1977), 15-22; Part II, Vol. VIII/3 (1977), 3-12; Part III, Vol. VIII/4 (1977), 3-9.

Bach's Occasional Canon, BWV 1073 and "Stacked" Cannonic Procedure in the Eighteenth Century, DENIS COLLINS, Vol. XXXIII/2, 15-34.

Bach's Passacaglia in C minor - Notes Regarding its Background, Essence, and Performance, DAVID MULBURY, Part I, Vol. III/2 (1972) 14-27; Part II, Vol. III/3 (1972), 12-20; Part III, Vol. III/4 (1972), 17-24.

Bach's Problems and Artistic Creed, HANS T. DAVID, Vol. I/2 (1970), 6-13.

Bach's Secular Cantatas - A New Look at the Sources, HANS-JOACHIM SCHULZE, Vol. XXI/1 (1990), 26-41.

Bach's Self-Image:"I Had to be Industrious..." Thoughts about the Relationship Between Bach's Social and Musical Character, ULRICH SIEGELE, (GERHARD HERZ, Translator), Vol. XXII/2, (1991), 5-12.

Bach's Significance, HELMUTH RILLING (GORDON PAINE, Translator), Vol. XVI/3 (1985), 2-16.

Bach's Singet dem Herrn ein neues Lied: An Old Problem, WESLEY K. MORGAN, Part I, Vol. XI/4 (1980), 8-23; Part II, Vol. XII/1 (1981), 2-12.

Bach's Solo Violin Sonatas and Partitas: The First Century and a Half, ZAY DAVID SEVIER, Part I, Vol. XII/2 (1981), 11-19; Part II, Vol. XII/3 (1981), 21-29.

Bach's St. Matthew Passion: A Rudimentary Psychological Analysis, VLADIMIR J. KONE_NI, Part I, Vol. XVII/3 (1986), 10-21; Part II, Vol. XVII/4 (1986), 3-16.

Bach's Tempos and Rhetorical Applications, E. FRED FLINDELL, Vol. XXVIII/1-2 (1997), 151-236.

Bach's Understanding and Use of the Epistles and Gospels of the Church Year, ROBIN A. LEAVER, Vol. VI/4 (1975), 4-13.

Bach's Use of Dance Rhythms in Fugues, NATALIE JENNE, Part I, Vol. IV/4 (1973), 18-26; Part II, Vol. V/1 (1974), 3-8; Part III, Vol. V/2 (1974), 3-21.

BADURA-SKODA, EVA. Did J. S. Bach Compose "Pianoforte Concertos"?, Vol. XXXI/1 (2000), 1-16.

Baldwin Wallace University BACH FESTIVAL 38th Annual, May 22-23, 1970, Vol. I/2 (1970), 31-32. 40th Annual, May 19-20, 1972, Vol. III/1 (1972), 36. 41st Annual, May 24-25, 1973, Vol. IV/1 (1973), 39. 44th Annual, May 21-22, 1976, Vol. VII/2 (1976), 32. 45th Annual, May 20-21, 1977, Vol. VIII/2 (1977), 30-32. 46th Annual, May 19-20, 1978, Vol. IX/2 (1978), 40. 50th Annual, May 19-22, 1982, Vol. XIII/1 (1982), 4548. 53rd Annual, May 23-26, 1985, Vol. XV/4 (1985), 34-36. 56th Annual, May 20-21, 1988, Vol. XXIX/1 (1988), 4.

Baldwin Wallace University Legacy at 75 Years,  TOM RIEMENSCHNEIDER with LAURA KENNELLY, Vol. XXXVIII/1 (2007), 67-85.

BANGERT, MARK. Review of Gnadengegenwart: Johann Sebastian Bach im Kontext lutherischer Orthodoxie und Frömmigkeit by Renate Steiger, XXXV/2 (2004), 60-68.

BARBER, ELINORE L. Albert Riemenschneider: A Portrait of the Founder of Baldwin Wallace University's Conservatory on the Occasion of its 100th Anniversary, Vol. XXIX/2 (1998), 1-7.

BARBER, ELINORE L. Bach Adds a Tempo Mark?, (Editorial), Vol. I/2 (1970), 3-5.

BARBER, ELINORE L. Bach and the B-A-C-H Motive (Editorial), Vol. II/2 (1971), 3-5.

BARBER, ELINORE L. Bach's "Incomplete" Quadruple Fugue from Die Kunst der Fuge (1752 Edition Print Held by the Riemenschneider Bach Institute), Vol. XVII/4 (1986), 24-29.

BARBER, ELINORE L. Bach's Portrait in Gerber's Lexicon (Editorial), Vol. II/1 (1971), 3-6.

BARBER, ELINORE L. Beethoven and Bach (Editorial), Vol. I/4 (1970), 4-5.

BARBER, ELINORE L. Beethoven on Bach - Excerpts from Letters, Vol. I/4 (1970), 6-8.

BARBER, ELINORE L. Butter, Guns, and Bach? (Editorial), Vol. I/3 (1970), 3-4.

BARBER, ELINORE L. Concerning BACH Journal: "1995 and Beyond" (Editorial), Vol. XXVI/1-2 (1995), iv.

BARBER, ELINORE L. Concerning the 25th Anniversary Issue of BACH Journal (Editorial), Vol. XXV/2 (1994), 5.

BARBER, ELINORE L. Concerning The Three Robin A. Leaver Articles Published in This Issue of BACH, Vol. XVI/4 (1985), 3.

BARBER, ELINORE L. Early Handel Prints and a Handel Manuscript in the Bach Institute's Vault Collection, Vol. XVI/2 (1985), 6-17 and 20-70.

BARBER, ELINORE L. Editorial Note, Vol. XXIV/2 (1993), 2.

BARBER, ELINORE L. Hans Theodore David: "A Portrait in Outline," Vol. I/3 (1970), 25-29.

BARBER, ELINORE L. In Tribute to the Work of Doris Ornstein (Editorial), Vol. XXIX/1 (1998), 7.

BARBER, ELINORE L. J. S. Bach and the Critics (Editorial), Vol. II/3 (1971), 4-6.

BARBER, ELINORE L. J. S. Bach in the Year of the Moon (Editorial), Vol. I/1 (1970), 3-4.

BARBER, ELINORE L. Reply to Dr. Alfred Dürr's Communication of 14 November, 1983 Vol. XV/1 (1984), 28.

BARBER, ELINORE L. Style Sheet for Contributors to BACH, A, Vol. III/4 (1972), 33-40.

BARBER, ELINORE L. Translator, Albert Schweitzer, Letter to Elinore Barber, May 19, 1963, Vol. II/2 (1971), 20-21.

BARBER, ELINORE L. Wegweiser...die Kunst die Orgel recht zu schlagen, Part I (In Department: Riemenschneider Bach Institute Vault Holdings, Facsimile Series), Part I, Vol. XVIIII/1 (1987), 25-36; Part II, Vol. XVIII/2 (1987) 4-63; Part III, Vol. XVIII/3 (1987) 11-37; Part IV, Vol. XVIII/4 (1987) 29-54; Part V, Vol. XIX/2 (1988), 25-56; Part VI, Vol. XIX/3 (1988), 19-74.

BARBER, ELINORE L."Foreword" (Bach Tercentenary Facsimile Project), Clavierübung IV [The "Goldberg" Variations], Vol. XI/1 (1980), 2-6.

BARBER, ELINORE L."Foreword" (Bach Tercentenary Facsimile Project), Die Kunst der Fuge, Vol. XI/4 (1980), 32-33.

Baroque Ideals of Text Declamation and Their Relevance to the Falsobordone Genre, SUSAN UNMACK and ROBERT HARTWELL, Vol. XIV/4 (1983), 15-24.

BATES, WILLIAM H. Fantasy and Fugue in G Minor (BWV 542): A Source Study for Organists, Vol. XXXIX/2 (2008), 1-88.

BAUMGARNER, NICHOLAS. Currents in Bach Interpretation in Contemporary Germany, Vol. XXX/2 (1999), 1-26.

BAUMGARNER, NICHOLAS. European Bach Interpretation at the Turn of the Millennium, Vol. XXXIII/1 (2002), 1-56.

BAXTER, JEFFREY, Translator, Yoshitake Kobayashi, Universality in Bach's B Minor Mass: A Portrait of Bach in his Final Years (In Memoriam Dietrich Kilian), Vol. XXIV/2 (1993), 3-25.

Bay Psalm Book: J. S. Bach and the Bay Psalm Book, RICHARD G. APPEL, Vol. I/3 (1970), 22-24.

Beethoven and Bach (Editorial), ELINORE L. BARBER, Vol. I/4 (1970), 4-5.

Beethoven on Bach - Excerpts from Letters, ELINORE L. BARBER, Vol. I/4 (1970), 6-8.

Beethoven Writes to the Imperial Prussian Embassy in 1823 Concerning "A Large Solemn Mass" (Litterae ab musicis), Vol. VII/4 (1976), 23-25.

Beisel: Konrad Beisel (1691-1768): Founder of the Ephrata Cloister in Pennsylvania, OSKAR KILIAN, (WILTRUD CORNISH, Translator), Part I, Vol. VII/3 (1976), 25-28; Part II, Vol. VII/4 (1976), 31-3 6; Part III, Vol. VIII/1 (1977), 23-24.

BENEDUM, RICHARD. Structure and Symbolism in Bach's Prelude and Fugue in E Flat, BWV 552, Vol. X/4 (1979), 19-24.

BENITEZ, VINCENT P. Musical-Rhetorical Figures in the Orgelb?chlein of J. S. Bach, Vol. XVIII/1 (1987), 3-21.

BESWICK, DELBERT MEACHAM (1909-1979). Memorial Dedication, Vol. X/3 (1979), 2.

Bethlehem Bach Choir: New Light on the Pre-History of the Bach Choir of Bethlehem, ROBIN A. LEAVER, Vol. XXII/2 (1991), 24-34.

Bibliography: Bach Tercentenary Issues of Periodicals: A Selected Bibliography, RUSSELL STINSON, Vol. XVII/4 (1986), 17-23.

BOE, JOHN. Fully Notated Articulation in Bach's Mature Keyboard Music, Part I, Vol. VII/1 (1976), 12-19; Part II, Vol. VII/2 (1976), 14-22.

BOLDUAN, MIRIAM F. The Significance of the Viola Pomposa in the Bach Cantatas, Vol. XIV/3 (1983), 12-17.

Borrowing: Telemann's Musical Style c. 1709-c. 1730 and J. S. Bach: the Evidence of Borrowing, IAN PAYNE, Vol. XXX/1 (1999), 42-64

BOSTROM, KERRY L. The Use of Recitative and the Communal Style in the Solo Cantatas of Dietrich Buxtehude, Vol. XVII/3 (1986), 22-32.

BOTWINICK, SARA. From Ohrdruf to Mühlhausen: A Subversive Reading of Bach's Relationship to Authority, Vol. XXXV/2 (2004), 1-59.

Brahms Requiem: A Recently Discovered Composer-Annotated Score of the Brahms Requiem, (With Supporting Authentication by Oswald Jonas and "Introductory Remarks" by Elinore L Barber), MAX RUDOLF, Vol. VII/4 (1076), 2-15.

BRAUNLICH, HELMUT. Johann Peter Kellner's Copy of the Sonatas and Partitas for Violin Solo by J. S. Bach, Vol. XII/2 (1981), 2-10.

BROKAW, JAMES A., II. (Translator), Friedrich Smend's Edition of the B-Minor Mass by J. S. Bach (from the German of GEORG VON DADELSEN), Vol. XX/2 (1989), 49-74.

BROKAW, JAMES A., II. Recent Research on the Sources and Genesis of Bach's Well-Tempered Clavier, Book II, Vol. XVI/3 (1985), 17-35.

BROWN: EMILY FREEMAN, Zarathustra: Reflection of the Baroque Overture, Vol. XXVI/1-2 (1995), 84-90.

BUELOW, GEORGE J. A Bach Borrowing by Gluck: Another Frontier, Vol. XXII/1 (1991), 43-61.

BUTLER, GREGORY. The Galant Style in J. S. Bach's Musical Offering: Widening the Dimensions, Vol. XXXIII/1 (2002), 57-68.

BUTLER, GREGORY. J. S. Bach's "Hudemann" Canon, BWV 1074: A Note on the Engraving and Printing History, Vol. XXV/1 (1994), 5-10.

BUTLER, GREGORY. J. S. Bach's Einige canonische Veraenderungen: The View from the Original Print, Vol. XX/2 (1989), 4-37.

BUTLER, H. JOSEPH, A Newly Discovered Work of Charles Theodore Pachelbel, H. JOSEPH BUTLER, Vol. XXVIII/1-2 (1997), 126-143.

BUTLER, LYNN EDWARDS, Johann Christoph Bach's New Organ for Eisenach's Georgenkirche, Vol. XXXV/1 (2004), 42-58.

Butter, Guns, and Bach? (Editorial), ELINORE L. BARBER, Vol. I/3 (1970), 3-4.

Buxtehude: The Use of Recitative and the Communal Style in the Solo Cantatas of Dietrich Buxtehude, KERRY L. BOSTRUM, Vol. XVII/3 (1986), 22-32.

BWV 1001-1006: Johann Peter Kellner's Copy of the Sonatas and Partitas for Violin Solo by J. S. Bach, HELMUT BRAUNLICH, Vol. XII/2 (1981), 2-10.

BWV 1010: Doris Ornstein's Harpsichord Transcription of BWV 1010, Vol. XXIX/1 (1998), 47-76.

BWV 1010: J. S. BACH, Suite 4 à Violoncello solo senza Basso (BWV 1010), A Manuscript Copy in the Hand of Anna Magdalena Bach, Vol. XXIX/1 (1998), 38-46.

BWV 1046a (formerly 1071): On Linking Bach's F-Major Sinfonia and His Hunt Cantata, BWV 208, MICHAEL MARISSEN, Vol. XXIII/2 (1992), 31-46.

BWV 1074: J. S. Bach's "Hudemann" Canon, BWV 1074: A Note on the Engraving and Printing History, GREGORY BUTLER, Vol. XXV/1 (1994), 5-10.

BWV 1079: Bach, J. S. Musicalische Opfer, Zella St. Blasii: J. G. Schübler [1747] (Bach Tercentenary Facsimile Project), Vol. XI/2 (1980), 29-36; Vol. XI/3 (1980), 24-31.

BWV 1079: See Musical Offering.

BWV 1080: See Art of the Fugue.

BWV 1083/243a: "Tilge, Höchster, Meine Sünden": Observations on Bach and the Style galant, Vol. XXIII/1(1992), 3-30.

BWV 1087: Bach's Newly Discovered Canons in a First Edition: Some Observations, RANDOLPH N. CURRIE, Part I, Vol. VIII/2 (1977), 15-22; Part II, Vol. VIII/3 (1977), 3-12; Part III, Vol. VIII/4 (1977), 3-9.

BWV 1087: Historical Precedents for Bach's Evolutio Canon, BWV 1087/10, DENIS COLLINS, Vol. XXIV/1 (1993), 5-14.

BWV 12: Another Lament in Weinen, Klagen, Sorgen, Zagen, Z. PHILIP AMBROSE, Vol. XIII/3 (1982), 20-22.

BWV 147: Adapting Bach's Final Weimar Cantata for Performance in Leipzig: Liturgical and Musical Considerations in Cantata 147, MARK A. PETERS, Vol. XXXI/1 (2000), 58-73.

BWV 173: DAVID, HANS T. Translator, J. S. Bach, Title Pages of Cantatas BWV 173 and 194, Vol. II/3 (1971), 38-39.

BWV 194: DAVID, HANS T. Translator, J. S. Bach, Title Pages of Cantatas BWV 173 and 194, Vol. II/3 (1971), 38-39.

BWV 208: On Linking Bach's F-Major Sinfonia and His Hunt Cantata, BWV 208, MICHAEL MARISSEN, Vol. XXIII/2 (1992), 31-46.

BWV 225: Singet dem Herrn ein neues Lied: Bach's Singet dem Herm ein neues Lied: An Old Problem, WESLEY K. MORGAN, Part I, Vol. XI/4 (1980), 8-23; Part II, Vol. XII/1 (1981), 2-12.

BWV 232: See B Minor Mass.

BWV 234: A Major Mass: Missa Brevis and Historia: Bach's A Major Mass, ALFRED MANN, XVI/1 (1985), 6-11.

BWV 234: A-Major Mass: Parody and Theological Consistency: Notes on Bach's A-Major Mass, ROBIN A. LEAVER, Vol. XXI/3 (1990), 30-43.

BWV 243: Magnificat in E-flat Major (Vault Holdings), Vol. II/1 (1971), 37.

BWV 243: See Magnificat.

BWV 244: See St. Matthew Passion.

BWV 245: See St. John Passion.

BWV 248: See Christmas Oratorio.

BWV 253-438: Four-Part Chorales (Vault Holdings), Vol. II/4 (1971), 15-16.

BWV 551, A Bachian Orphan, HUGH J. McCLEAN, Vol. XXIV/1 (1993), 35-46.

BWV 552: See: Clavierübung III.

BWV 552: Structure and Symbolism in Bach's Prelude and Fugue in E-Flat, BWV 552, RICHARD BENEDUM, Vol. X/4 (1979), 19-24.

BWV 582: Bach's Passacaglia in C minor - Notes Regarding its Background, Essence, and Performance, DAVID MULBURY, Part I, Vol. III/2 (1972) 14-27; Part II, Vol. III/3 (1972), 12-20; Part III, Vol. III/4 (1972), 17-24.

BWV 599-644: See Orgelbüchlein.

BWV 645-650 (Schübler Chorales): CURRIE, RANDOLPH N. Cyclic Unity in Bach's Sechs Chorale: A New Look at the "Schübler's, "(Notizbuch für Studenten), Part I, Vol. IV/1 (1973), 26-38; Part II, Vol. IV/2 (1973), 25-39.

BWV 669-689: See: Clavierübung III.

BWV 71:  The Text of "Gott ist Mein Koenig", DANIEL L. MELAMED, Vol. XXXII/1 (2001), 1-16.

BWV 75: Bach's First Two Leipzig Cantatas: The Question of Meaning Revisited, MELVIN P. UNGER, Vol. XXVIII/1-2 (1997), 87-125.

BWV 769: J. S. Bach's Einige canonische Veraenderungen: The View from the Original Print, GREGORY BUTLER, Vol. XX/2 (1989), 4-37.

BWV 772-786: See Inventions.

BWV 78: The Opening Chorus of Cantata BWV 78, Jesu, der du meine Seele: Another Example of Bach's Interest in Matters Soteriological, ANNE LEAHY, Vol. XXX/1, 26-41.

BWV 79: The Libretto of Bach's Cantata No. 79: A Conjecture, ROBIN A. LEAVER, Vol. VI/1 (1975), 3-11.

BWV 802-805: See: Clavierübung III.

BWV 806-811 (English Suites): See Clavier Suites.

BWV 812-817 (French Suites): See Clavier Suites.

BWV 825-830 (Six Partitas): See Clavier Suites, Clavierübung I.

BWV 825-830: Bach, J. S. Clavierübung, Opus 1, 1731 (Vault Holdings), Vol. II/2 (1971), 22.

BWV 827: Some Revisional Aspects of Bach's Keyboard Partitas, BWV 827 and BWV 830, CHARLES M. JOSEPH, Vol. IX/2 (1978), 2-16 and 25-27.

BWV 830: Some Revisional Aspects of Bach's Keyboard Partitas, BWV 827 and BWV 830, CHARLES M. JOSEPH, Vol. IX/2 (1978), 2-16 and 25-27.

BWV 846-869: See Well-Tempered Clavier Book II.

BWV 870-893: See Well-Tempered Clavier Book II.

BWV 903: Chromatische Fantasie und Fuge D-Moll (Vault Holdings), Vol. II/3 (1971), 23-24.

BWV 970 Presto in D Minor, BWV 970: Its Authorship Reconsidered, FRANK MORANA, Vol. XXI/3 (1990), 9-29.

BWV 970: The Presto in D Minor, BWV 970: Its Authorship Reconsidered, Vol. XXI/3 (1990), 9-29.

BWV 988: Bach, J. S. Clavierübung IV [The "Goldberg" Variations], Nürnberg [ca. 17421 (Bach Tercentenary Facsimile Project), Vol. XI/1 (1980), 2-40. See also Goldberg Variations.

BWV-Anh. II 85: The "Dobenecker" Toccata, BWV-Anh. II 85: An Early Bach Work? FRANK MORANA, Vol. XXIV/2 (1993), 26-37.

C. P. E. Bach and Handel: A Son of Bach Confronts Music History and Criticism, DAVID SCHULENBERG, Vol. XXIII/2 (1992), 5-30.

C. P. E. Bach: Three Collections of Keyboard Works by C. P. E. Bach, WALTER SCHENKMAN, Part I, Vol. VIII/4 (1977), 23-36; Part II, Vol. IX/1 (1978), 2-14 and 23-25.

C. P. E. Bach's Clavier Quartet in A Minor, Wotquenne 93, TIMOTHY CORRAO, Part I, Vol. XII/4 (1981), 17-21; Part II, Vol. XIII/2 (1982), 23-27.

C. P. E. Bach's Evangelist: Johann Heinrich Michel, Vol. XLI/2 (2010), 1-23, PAUL CONRNEILSON.

C-Major and C-Minor Preludes of the Well-Tempered Clavier, Book I, The, JULIUS HERFORD, Vol. IV/2 (1973), 17-21.

Call for BACH Journal Articles, A. Vol. XXIII/2 (1992), 62.

Calov Bible from Bach's Library, The, ROBIN A. LEAVER, Vol. VII/4 (1976), 16-22.

Calov Bible: Scholarly Detective, The: Investigating Bach's Personal Bible, HOWARD COX, Vol. XXV/1 (1994), 28-45.

Canon: Bach and Approaches to Canonic Composition in Early Eighteenth-Century Theoretical and Chamber Music Sources. DENIS COLLINS, Vol. XXX/2 (1999), 27-48.

Canon: Historical Precedents for Bach's Evolutio Canon, BWV 1087/10, DENIS COLLINS, Vol. XXIV/1 (1993), 5-14.

Canon in the Baroque Era: Some Precedents for the Musical Offering, H. M. WHITE, Vol. XV/4 (1984), 4-15.

Canon: J. S. Bach's "Hudemann" Canon, BWV 1074: A Note on the Engraving and Printing History, GREGORY BUTLER, Vol. XXV/1 (1994), 5-10.

Canonic Variations: J. S. Bach's Einige canonische Veraenderungen: The View from the Original Print, GREGORY BUTLER, Vol. XX/2 (1989), 4-37.

Canons: Bach's Newly Discovered Canons in a First Edition: Some Observations, RANDOLPH N. CURRIE, Part I, Vol. VIII/2 (1977), 15-22; Part II, Vol. VIII/3 (1977), 3-12; Part III, Vol. VIII/4 (1977), 3-9.

Canons: Musical Terminology in the Canonic Works of Bach: An Historical Context, DENIS COLLINS, Vol. XXVI/1-2 (1995), 91-101.

Canons: Musical Terminology in the Contrapuntal and Canonic Works of J. S. Bach, THOMAS B. PAYNE, Vol. XVII/1 (1986), 18-35.

Cantatas: Bach's First Two Leipzig Cantatas: The Question of Meaning Revisited, MELVIN P. UNGER, Vol. XXVIII/1-2 (1997), 87-125.

Cantatas: Johann Sebastian Bach's Cantatas in Chronological Order, ARTUR HIRSCH, Vol. IV/3 (1973), 18-35.

Cantatas: Tempo and Rhythm in Bach's Cantata Ouvertures, LAWRENCE SCHENBECK, Vol. XVII/1 (1986), 3-17.

Cantatas: The Original Circumstances in the Performance of Bach's Leipzig Church Cantatas, "wegen seiner Sonn- und Festtägigen Amts-Verrichtungen", DON L. SMITHERS, Vol. XXVI/1-2 (1995), 28-47.

Cantatas: The Significance of the Viola Pomposa in the Bach Cantatas, MIRIAM F. BOLDUAN, Vol. XIV/3 (1983), 12-17.

Carnegie Manuscript and J. S. Bach, The, DON O. FRANKLIN, Vol. XXII/1 (1991), 5-15.

CD REVIEW: Johann Sebastian Bach: Art of the Fugue, PETER ELYAKIM TAUSSIG, PIANO SOLO, Robert Mayerovitch, Vol. XXXIII/2 (2001), 71-76.

Celestial Harmony: Kepler, Bach, and Gauss: The Celestial Harmony of the Earth's Motion, HERBERT ANTON KELLNER, Vol. XXV/1 (1994), 46-56.

Cello Suites: A Deceptive Edition of the Bach 'Cello Suites, MARK M. SMITH, Vol. IX/1 (1978), 26-29.

Cello Suites: Doris Ornstein's Harpsichord Transcription of BWV 1010, Vol. XXIX/1 (1998), 47-76.

Cello Suites: J. S. BACH, Suite 4 à Violoncello solo senza Basso (BWV 1010), A Manuscript Copy in the Hand of Anna Magdalena Bach, Vol. XXIX/1 (1998), 38-46.

Cello Suites: The Manuscripts of the Bach Cello Suites, an Inextricable Labyrinth for Cellists? DIMITRY MARKEVITCH, Vol. XXX/1, 66-69.

Charles Gounod Writes to His Friend, the English Conductor and Composer Sir Michael Costa (Litterae ab musicis), Vol. VIII/2 (1977), 28-29.

Chiastic Design: The Dual Chiastic Design of the C Major Prelude, BWV 870 (Well-Tempered Clavier, Vol. II), MICHAEL LINTON, Vol. XXVII/1 (1996), 31-56.

Chorale Cantata in Leipzig: The Collaboration between Schelle and Carpzov in 1689-1690 and Bach's Chorale Cantata Cycle, MARKUS RATHEY, Vol. XLIII/2 (2012), 46-92.

Chorales: Toward a Correct Performance of Fermatas in Bach's Chorales, DAVID SCHILDKRET, Vol. XIX/1 (1988), 21-27.

Christmas Oratorio: Observations on the Origins and Influences Leading to Bach's Idiomatic Writing for the Trumpet in Grosser Herr, o starker König, from the Christmas Oratorio, (Notizbuch für Studenten), TIMOTHY A. COLLINS, Vol. XVII/2 (1986), 31-45.

Chronology of the Works of Johann Sebastian Bach, A., ERNEST HARRISS, Part I, Vol. XI/2 (1980), 2-20; Part II, Vol. XI/3 (1980), 2-8; Part III, Vol. XI/4 (1980), 3-7.

Chronology of the Works of Johann Sebastian Bach, A., ERNEST HARRISS, Part I, Vol. XI/2 (1980), 2-20; Part II, Vol. XI/3 (1980), 2-8; Part III, Vol. XI/4 (1980), 3-7.

Chronology: Stylistic Analysis and Text Philology in the Service of "Inner" Chronology" Involving Stylistic Analyses of Selected Arias by Johann Sebastian Bach, REINMAR EMANS (Ian Macredie, Elinore Barber, and Alfred Mann, Translators), Vol. XXVI/1-2 (1995), 1-14.

Chronology: Yoshitake Kobayashi's Article "On the Chronology of the Last Phase of Bach's Work - Compositions and Performances: 1736 to 1750" - An Analysis with Translated Portions of the Original Text, (GERHARD HERZ, Translator), Vol. XXI/1 (1990), 3-25.

Church Year: Bach's Understanding and Use of the Epistles and Gospels of the Church Year, ROBIN A. LEAVER, Vol. VI/4 (1975), 4-13.

Clara Schumann's Bach Book: A Neglected Document of the Bach Revival, RUSSELL STINSON, Vol. XXXIX/1 (2008), 1-66.

Clavier Suites: The Historical Background of the Composition of Johann Sebastian Bach's Clavier Suites, ALFRED DÜRR Part I, Vol. XIII/4 (1982), 2-7; Part II, Vol. XIV/1 (1983), 2-11. Zur Entstehungsgeschichte der Klaviersuiten von Johann Sebastian Bach, Part I, Vol. XIII/4 (1982), 8-13; Part II, Vol. XIV/1 (1983), 12-20.

Clavier Suites: The Historical Background of the Composition of Johann Sebastian Bach's Clavier Suites (Parts I and II), ALFRED DÜRR, Vol. XVI/1 (1985), 53-68. [Reprint of earlier articles but without German original.]

Clavierübung: Clavier Ubung, Opus 1, 1731 (Vault Holdings), Vol. II/2 (1971), 22.

Clavierübung III, CHRISTOPH TRAUTMANN, (ALFRED MANN, Translator), Vol. XV/3 (1984), 3-11.

CLEMENT, ALBERT. On the Inner Correlation of the Six Chorales BWV 645-650 and its Significance, Vol. XXXIV/2, 1-62.

COLE, WARWICK. Improvisation as a Stimulus to Composition in Bach's Partita II, Vol. XXXI/1 (2000), 96-112.

Collation of the Expositions in Die Kunst der Fuge of J. S. Bach, A, ADEL HEINRICH, Vol. XII/2 (1981), 28-40.

COLLINS, DENIS, From Bull to Bach: In Search of Precedents for the "Complete" Version of the Canon by Augmentation and Contrary Motion in J. S. Bach's Musical Offering, Vol. XXXVIII/2 (2007), 39-63.

COLLINS, DENIS. Bach and Approaches to Canonic Composition in Early Eighteenth-Century Theoretical and Chamber Music Sources, Vol. XXX/2 (1999), 27-48.

COLLINS, DENIS. Bach's Occasional Canon BWV 1073 and "Stacked" Canonic Procedure in the Eighteenth Century, Vol. XXXIII/2, 15-34.

COLLINS, DENIS. Historical Precedents for Bach's Evolutio Canon, BWV 1087/10, Vol. XXIV/1 (1993), 5-14.

COLLINS, DENIS. Musical Terminology in the Canonic Works of Bach: An Historical Context, Vol. XXVI/1-2 (1995), 91-101.

COLLINS, TIMOTHY A. Gottfried Reiche: A More Complete Biography Vol. XIX/3 (1988), 4-18.

COLLINS, TIMOTHY A. Observations on the Origins and Influences Leading to Bach's Idiomatic Writing for the Trumpet in Grosser Herr, o starker Konig from the Christmas Oratorio (Notizbuch für Studenten), Vol. XVII (1986), 31-45.

COMING IN BACH Vol. I/2 (1970), 20. Vol. II/3 (1971), 40. Vol. II/4 (1971), 2. Vol. IV/2 (1973), 40. Vol. XVI/1 (1985), 2.

Comparison of the Prices of Organs in Bach's Time and the 1980s, A, ROBERT R. EBERT, Vol. XIX/1 (1988), 28-45.

Concerning BACH Journal: "1995 and Beyond" (Editorial), ELINORE L. BARBER, Vol. XXVI/1-2 (1995), iv.

Concerning the 25th Anniversary Issue of BACH Journal (Editorial), ELINORE BARBER, Vol. XXV/2 (1994), 5.

Concerning the Dating of Reinhard Keiser's St. Mark Passion, MARK A. RADICE, Vol. XXIV/1 (1993), 15-20.

CONCERNING THIS ISSUE Vol. XVI/1 (1985), 2. Vol. XVI/4 (1985), 3.

Contrapuntal Works: Musical Terminology in the Contrapuntal and Canonic Works of J. S. Bach, THOMAS B. PAYNE, Vol. XVII/1 (1986), 18-35.

Considering the Tempering Tonality B-Major in Part II of the Well-Tempered Clavier, HERBERT ANTON KELLNER, Vol. XXX/1, 10-25.

CORELLI, ARCANGELO. Concerto grosso, Op. 6 (Vault Holdings), Vol. II/4 (1971), 16.

CORLIS, TIMOTHY. Analysis of Spectra in J. S. Bach's Prelude and Fugue, BWV 552, Vol. XXXVII/2 (2006), 26-49.

CORNEILSON, PAUL. C. P. E. Bach's Evangelist: Johann Heinrich Michel, Vol. XLI/2 (2010), 1-23.

CORNISH, WILTRUD, Translator, Konrad Beisel (1691-1768): Founder of the Ephrata Cloister in Pennsylvania, OSKAR KILIAN, Part I, Vol. VII/3 (1976), 25-28; Part II, Vol. VII/4 (1976), 31; Part III, Vol. VIII/1 (1977), 23-24.

CORRAO, TIMOTHY. C. P. E. Bach's Clavier Quartet in A Minor, Wotquenne 93, Part I, Vol. XII/4 (1981), 17-21; Part II, Vol. XIII/2 (1982), 23-27.

Corrections: A Correction, E. FRED FLINDELL, "Apropos Bach's Inventions," Vol. XV/4 (1984), 36, Vol. XXVII/1 (1996), 89. See also Publications, Announcements, and Corrections. ***

COWART, GEORGIA. Symbolic Correspondence in the Duets of Bach's Mass in B Minor; Part I, Vol. XV/1 (1984), 17-24; Part II, Vol. XV/2 (1994), 18-25.

COX, HOWARD H. Bach's Conception of His Office, Vol. XX/1 (1989), 22-30.

COX, HOWARD. Text Selection Process in Handel's Chandos Anthems, The, Vol. XXIV/1 (1993), 21-34.

COX, HOWARD. The Scholarly Detective: Investigating Bach's Personal Bible, Vol. XXV/1 (1994), 28-45.

CRIST, STEPHANA. Translator, Thoughts on Bach's Leipzig Creative Years, RUDOLF ELLER, Vol. XXI/2 (1990), 31-54.

CRIST, STEPHEN. Bach, Theology, and Harmony: A New Look at the Arias, Vol. XXVII/1 (1996), 1-30.

Critischer Musikus. Neue, vermehrte und verbesserte Auflage, JOHANN ADOLPH SCHEIBE, Vol. II/1 (1971), 36.

Currents in Bach Interpretation in Contemporary Germany, NICHOLAS BAUMGARNER, Vol. XXX/2 (1999), 1-26.

CURRIE, RANDOLPH N. A Neglected Guide to Bach's Use of Number Symbolism, Part I, Vol. V/1 (1974), 23-32; Part II, Vol. V/2 (1974 36-49; Part III, Vol. V/3 (1974), 3-12; Part IV, Vol. V/4 (1974), 3-8.

CURRIE, RANDOLPH N. Bach's Newly Discovered Canons in a First Edition: Some Observations, Part I, Vol. VIII/2 (1977), 15-22; Part II, Vol. VIII/3 (1977), 3-12; Part III, Vol. VIII/4 (1977), 3-9.

CURRIE, RANDOLPH N. Cyclic Unity in Bach's Sechs Chorale: A New Look at the "Schübler's, "(Notizbuch für Studenten), Part I, Vol. IV/1 (1973), 26-38; Part II, Vol. IV/2 (1973), 25-39.

Cyclic Unity in Bach's Sechs Chorale: A New Look at the "Sch blers, " (Notizbuch für Studenten), RANDOLPH N. CURRIE, Part I, V ( IV/1 (1973), 26-38; Part II, Vol. IV/2 (1973), 25-39.

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