Riemenschneider Bach Institute

 

BACH Journal: Cumulative Index - [P] [Q] [R]


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

Pablo Nassare's Contrapuntal method, DONALD W. FORRESTER, Vol. XV/4 (1984), 23-31.

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

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

PACZKOWSKI, SZYMON, On the Problems of Parody and Style in the "Et Resurrexit" from the Mass in B minor by Johann Sebastian Bach, Vol.  XXXVII/2 (2006), 1-44.

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

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

Parody: Self-Parody and the "Hunting-Cantata," BWV 208 - An Aspect of Bach's Compositional Process, GESA KORDES, Vol. XXII/2 (1991), 35-57.

Parody: The Parody Process in Bach's Music: An Old Problem Reconsidered, HANS-JOACHIM SCHULZE, Vol. XX/1 (1989), 7-21.

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

Partitas: 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.

Partitas: The Lost Dedication Copy of Partita 1: Bach as Poet? FRANK MORANA, Vol. XXII/2 (1991), 13-23.

Partitas: The Sequence of Sarabande and Air in Bach's Keyboard Partitas, KARYL LOUWENAAR-LUECK, Vol. XXIII/1 (1992), 38-50.

Parvula Corona Musicalis, ERNST KRENEK, Vol. II/4 (1971), 18-31. Reprint, Vol. XXVII/1 (1996), 66-85.

Parvula Corona: Postscript to the Parvula Corona, ERNST KRENEK, Vol. III/3 (1972), 21-26. Reprint, Vol. XXVII/1 (1996), 66-85.

Passacaglia in C minor: 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.

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

PAYNE, IAN. Telemann and the French Style Revisited: Transformative Imitation in the Ensemble Suites (TWV 55), Vol. XXXVII/ 2, 45-80.

PAYNE, IAN. Telemann's Fragmentary Ensemble Version of Keyboard Ouverture, TWV 32:16 and the "Consort" Element in the Pre-C. 1730 Keyboard Suites, Vol. XXXII/1 (2001), 44-72.

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

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

Performance of Early Music: George Kochevitsky Speaks Concerning the Performance of Early Music (1972-1976), GEROGE KOCHEVITSKY, Vol. XXV/2 (1994), 54-58.

Performance Practice: "A Song in imitation of Mr. Nicola's Manner": A Melismatic "Mouthfull," S. E. PLANK, Vol. XVII/2 (1986), 16-23.

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

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

Performance Practice: Some Reflections on the Performance of Bach's Vocal-Instrumental Works, KARL HOCHREITHER, Vol. VIII/2 (1977), 2-14.

Performance Practice: The Emperor's Headgear: A Brief Response to Don Smithers, JOSHUA RIFKIN, Vol. XXX/1(1999), 70-73.

Performance Practice: The Emperors' New Clothes Reappraised; or Bach's Musical Resources Revealed, DON L. SMITHERS, Vol. XXVIII/1-2 (1997), 1-81.

Performance Practice: 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.

Performance Practice: Trügerische Aufführungstraditionen, HANS T. DAVID, Vol. XXI/2 (1990), 23-30. Reprint with introduction by Max Rudolf, Vol. XXV/2 (1994), 36-53.

Performance Tradition: Deceptive Performance Traditions, HANS T. DAVID, (ALFRED MANN, Translator), Vol. XXI/2 (1990), 15-30. Reprint with introduction by Max Rudolf, Vol. XXV/2 (1994), 36-53.

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

Performing Bach's Keyboard Music - Dynamics; A Postscript, GEORGE A. KOCHEVITSKY, Vol. VII/1 (1976), 3-11.

Performing Bach's Keyboard Music - Embellishments, GEORGE A. KOCHEVITSKY, Part I: Vol. V/3 (1974), 37-40; Part II: Vol. V/4 (1974), 25-30.

Performing Bach's Keyboard Music - Embellishments, Part III, The Trill, GEORGE A. KOCHEVITSKY, Vol. VI/1 (1975), 24-35.

Performing Bach's Keyboard Music - Embellishments, Part IV, The Appoggiatura, GEORGE A. KOCHEVITSKY, Vol. VI/2 (1975), 27-40.

Performing Bach's Keyboard Music - Embellishments, Part V, Acciaccaturas and Broken Chords; Part VI, Mordents and inverted Mordents, GEORGE A. KOCHEVITSKY, Vol. VI/3 (1975), 20-35.

Performing Bach's Keyboard Music - Embellishments, Part VII, The Turn and the Slide; Part VIII, Compound Ornaments; Part IX, Additional Remarks, GEORGE A. KOCHEVITSKY, Vol. VI/4 (1975), 23-29.

Performing Bach's Keyboard Music - Notes inégales: A Brief History and a Summary, GEORGE A. KOCHEVITSKY, Vol. IV/4 (1973), 27-35.

Performing Bach's Keyboard Music - Phrasing, GEORGE A. KOCHEVITSKY, Vol. III/4 (1972), 28-32.

Performing Bach's Keyboard Music - Tempo, GEORGE A. KOCHEVITSKY, Vol. IV/2 (1973), 22-24.

Performing Bach's Keyboard Music - The Choice of an Instrument, GEORGE A. KOCHEVITSKY, Vol. III/2 (1972), 33-37.

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

PETERS, MARK A. A Reconsideration of Bach's Role as Text Redactor in the Ziegler Cantatas, Vol. XXXVI/1 (2005), 25-66.

PETERS, MARK A., J. S. Bach's Meine Seel'erhebt den Herren (BWV 10) as Chorale Cantata and Magnificat Paraphrase, Vol. Xl (2012), 29-64.

PETERS, MARK A. Review of The Musician in Literature in the Age of Bach by Stephen Rose,  Vol. XL/1 (2012), 90-93.

Philatelic Visit with J. S. Bach, A, JACQUES POSELL, Vol. VII/2 (1976), 23-28.

Phrasing: Performing Bach's Keyboard Music - Phrasing, GEORGE A. KOCHEVITSKY, Vol. III/4 (1972), 28-32.

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

PISK, PAUL. A New Look at the "Great 48, " Vol. VIII/2 (1977), 23-25.

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

Pitch in the Vocal Works of J. S. Bach, BEVERLY JEROLD, Vol. XXXI/1 (2000), 74-95.

PLANK, S. E. "A Song in Imitation of Mr. Nicola's Manner": A Melismatic "Mouthfull," Vol. XVII/2 (1986), 16-23.

Portrait of Mattheson, the Editor, Together with His Correspondents, WALTER SCHENKMAN, Part I, Vol. IX/4 (1978), 2-10; Part II, Vol. X/1 (1979), 3-12; Part III, Vol. X/2 (1979), 2-8. Reprint, Vol. XXV/2 (1994), 63-90.

POSELL, JACQUES. A Philatelic Visit with J. S. Bach, Vol. VII/2 (1976), 23-28.

POSELL, JACQUES. More Information from Jacques Posell (From Our Readers), Vol. VIII/1 (1977), 29.

Postscript to the Parvula Corona, ERNST KRENEK, Vol. III/3 (1972), 21-26. Reprint, Vol. XXVII/1 (1996), 66-85.

Preface To The Facsimile Reproduction of The Original Edition of Gottfried Kirchhoff's L'A.B.C. Musical Contenant Des Preludes Et Des Fugues Les Tons Pour l'orgue, Ou Le Clavecin . . . Amsterdam, C. 1734. ANATOLY MILKA, Vol. LXI/2 (2011), 1-39.

Prelude and Fugue in C Major From Bach's Well-Tempered Clavier [Book I]: Notes on the Compositional Process, The, ANDREW WHITE, Vol. XXIII/2 (1992), 47-60.

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

[A] Previously Unknown Source For The Orgelbüchlein:Yale Misc. Ms. 545, EMERSON MORGAN, Vol. LXI/2 (2011), 64-73.

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

Psalm and the Well-Tempered Clavier II: Revisiting the Old Question of Bach's Source of Inspiration, YO TOMITA, Vol. XXXII/1 (2001), 17-43.

Publications, Announcements, and Corrections, Vol. XXIV/1 (1993), 43-46. Vol XXVI/1-2 (1995), 102. Vol. XXVII/1 (1996), 86-88.

PUBLICATIONS (PUBLISHED BOOKS ANNOUNCED BY THE RIEMENSCHNEIDER BACH INSTITUTE) Vol. XVI/2 (1985), 71-72. Vol. XVI/3 (1985), 55-56. Vol. XVI/4 (1985), 49-50. Vol. XVII/2 (1986), 46-47. Vol. XVII/3 (1986), 33-34. Vol. XVII/4 (1986), 43-44. Vol. XVIII/3 (1987), 38-41. Vol. XVIII/4 (1987), 55-56. Vol. XIX/1 (1988), 47-50. Vol. XX/1 (1989), 65-67. Vol. XX/2 (1989), 76. Vol. XX/3 (1989), 51-52. Vol. XXI/3 (1990), 44-46. Vol. XXII/1 (1991), 62. Vol. XXII/2 (1991), 58. Vol. XXIII/2 (1992), 61. Vol. XXVII/1 (1996), 86-88. Vol. XXVII/2 (1996), 84-85.

Purcell: Henry Purcell's Contributions to The Gentleman's Journal, MARK A. RADICE, Part I, Vol. IX/4 (1978), 25-30; Part II, Vol. X/1 (1979), 26-31.

Purcell: Orpheus Britannicus (Vault Holdings), HENRY PURCELL, Vol. II/1 (1971), 35.

Purcell: Some Observations on Purcell's The Fairy Queen, MARK RADICE, Vol. VIII/1 (1977), 12-17.

Purcell: Tate's Libretto for Dido and Aeneas: A Revaluation, MARK A. RADICE, Vol. VII/1 (1976), 20-26. Reprint, Vol. XXV/2 (1994), 99-106.

PURCELL, HENRY. Orpheus Britannicus (Vault Holdings), Vol. II//1 (1971), 35.

QUESTIONS TO THE EDITOR Vol. I/1 (1970), 19-22. Vol. I/2 (1970), 21-25. Vol. I/3 (1970), 45-47. Vol. I/4 (1970), 35-40. Vol. II/1 (1971), 38-41. Vol. II/2 (1971), 24-26. Vol. II/3 (1971), 25-27. Vol. II/4 (1971), 32-35.

RADICE, MARK A. An Inventory of Bach's Musical Offering, Vol. VI/1 (1975), 12-16.

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

RADICE, MARK A. Heinrich Schütz and the Foundations of the Stile recitativo in Germany, Vol. XVI/4 (1985), 9-23.

RADICE, MARK A. Henry Purcell's Contributions to The Gentleman's Journal, Part I, Vol. IX/4 (1978), 25-30; Part II, Vol. X/1 (1979) 26-31.

RADICE, MARK A. Johann Mattheson and the Stylus narrativus, Vol. XVIII/3 (1987), 3-9.

RADICE, MARK A. Some Observations of Purcell's The Fairy Queen, Vol. VIII/1 (1977), 12-17.

RADICE, MARK A. Tate's Libretto for Dido and Aeneas: A Revaluation, Vol. VII/1 (1976), 20-26. Reprint, Vol. XXV/2 (1994), 99-106.

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

RATHEY, MAKUS. Johann Sebastian Bach's Passions: Recent Publications and Trends in Current Scholarship, Vol. XLIII/1 (2012), 65-83.

RATHEY, MARKUS. Review of Baroque Piety: Religion, Society, and Music in Leipzig 1650-1750 by Tanya Kevorkian, Vol. XL/1 (2009), 85-87; Review of The Organ Music of J. S. Bach by Peter Williams, Vol. XXXV/2 (2004), 69-71.

RATHEY, MARKUS. Two Unlikely Sisters: The "Cross" and the "Crosses" in BWV 12 and 69A, Vol. XXXVIII/1 (2007), 1-44.

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

Recently Discovered Composer-Annotated Score of the Brahms Requiem, A (With Supporting Authentication by Oswald Jonas and "Introductory Remarks" by Elinore L Barber), MAX RUDOLF, Vol. VII/4 (1976), 2-15.

"Recht bitter und doch süße": Textual and Musical Expression of Mystical Love in German Baroque Meditations of Christ's Passion, ISABELLA VAN ELFEREN, Vol. XXXV/1 (2004), 1-28.

Recitative: Heinrich Schütz and the Foundations of the Stile recitativo in Germany, MARK A. RADICE, Vol. XVI/4 (1985), 9-23.

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

[A] Reconsideration of Bach's Role as Text Redactor in the Ziegler Cantatas, MARK A. PETERS, Vol. XXXVI/1 (2005), 25-66.

Recorder: The Recorder in The Sixteenth and Early Seventeenth Centuries, (Notizbuch für Studenten), MARGARET A. NOSEK, Part I, Vol. V/3 (1974), 29-36; Part II, Vol. V/4 (1974), 18-24; Part III, Vol. VI/1 (1975), 17 23; Part IV, Vol. VI/2 (1975), 15-25.

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

Revival of the St. John Passion, History and Performance Practice, The, ROBIN A. LEAVER, Vol. XX/3 (1989), 34-49.

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

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

Rhythm: Rhythmic Patterns of the Baroque, WALTER SCHENKMAN, Part I, Vol. V/3 (1974), 21-28; Part II, Vol. V/4 (1974), 9-17.

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

Riemenschneider, Albert: 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.

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

RIEMENSCHNEIDER, ALBERT AND SELMA MARTING. Memorial Dedication, Vol. XIV/2 (1983), 3.

RIEMENSCHNEIDER BACH INSTITUTE Advisory Board Members Vol. IV/1 (1973), 40. Vol. IX/1 (1978), 36. Vol. IX/3 (1978), 34. Vol. XVI/4 (1985), 51. Vol. XIX/1 (1988), 51. Vol. XIX/3 (1988), 75. Honorary Members Vol. I/3 (1970), 48. Vol. IV/1 (1973), 40. Vol. V/1 (1974), 36. Vol. V/2 (1974), 52. Vol. V/3 (1974), 43. Vol. V/4 (1974), 32. Vol. VII/3 (1976), 36. Vol. VIII/1 (1977), 36. Vol. IX/1 (1978), 36. Vol. IX/3 (1978), 34. Vol. X/1 (1979), 32. Vol. X/2 (1979), 32. Vol. X/3 (1979), 40. Vol. X/4 (1979), 31. Vol. XI/3 (1980), 46. Vol. XIV/4 (1983), 36. Vol. XV/1 (1984), 44. Vol. XIX/1 (1988), 52. Vol. XIX/3 (1988), 76. Membership Categories Vol. I/1 (1970), 2. Vol. I/2 (1970), 2. Vol. I/3 (1970), 2. Vol. I/4 (1970), 2. Vol. II/1 (1971), 2. Vol. II/2 (1971), 2. Vol. II/3 (1971), 2. Vol. II/4 (1971), 44. Vol. III/1 (1972), 2. Vol. III/2 (1972), 2. Vol. III/3 (1972), 2. Vol. III/4 (1972), 2. Vol. IV/1 (1973), 2. Vol. IV/2 (1973), 2. Vol. IV/3 (1973), 2. Vol. IV/4 (1973), 2. Vol. V/1 (1974), 2. Vol. V/2 (1974), 2. Vol. V/3 (1974), 2. Vol. V/4 (1974), 2. Vol. VI/1 (1975), 2. Vol. VI/2 (1975), 2. Vol. VI/3 (1975), 2. Vol. VI/4 (1975), 2. Vol. VII/1 (1976), 2. Vol. VII/2 (1976), 2. Vol. VII/3 (1976), 2. Vol. VIII/1 (1977), 2. Vol. VIII/4 (1977), 2. Vol. IX/4 (1978), 31. Vol. X/1 (1979), 2. Vol. X/2 (1979), 31. Vol. X/4 (1979), 32. Vol. XI/3 (1980), 47. Vol. XII/1 (1981), 36. Vol. XII/4 (1981), 36. Vol. XIII/3 (1982), 36. Vol. XIII/4 (1982), 36. Vol. XIV/1 (1983), 40. Subscription Rates Vol. XX/1 (1989), 2. Vol. XX/2 (1989), 2. Vol. XX/3 (1989), 2. Subscribing Library List Vol. II/2 (1971), 35. Symposium-Concert Series Vol. I/1 (1970), 23-24. Vol. I/4 (1970), 47-48. Vol. II/1 (1971), 47-48. Vol. II/2 (1971), 23. Vol. II/3 (1971), 36. Vol. II/4 (1971), 42-43. Vol. III/1 (1972), 35. Vol. III/3 (1972), 11. Vol. III/4 (1972), 42. Vol. IV/1 (1973), 20. Vol. IV/3 (1973), 12. Vol. V/1 (1974), 35-36. Vol. V/3 (1974), 44. Vol. VI/4 (1975), 35. Vol. VII/2 (1976), 32. Vol. VIII/2 (1977), 14. Vol. VIII/4 (1977), 10. Vol. IX/2 (1978), 32. Vol. IX/4 (1978), 30. Vault Holdings Vol. I/1 (1970), 17-18. Vol. I/2 (1970), 18-20. Vol. I/3 (1970), 4-44. Vol. I/4 (1970) 33-34. Vol. II/1 (1971), 35-37. Vol. II/2 (1971), 22-23. Vol. II/3 (1971), 21-24. Vol. II/4 (1971), 15-17. Vol. III/1 (1972), 31-34. Vol. III/2 (1972), 3 8-39. Vol. III/3 (1972), 40-42. Vol. III/4 (1972), 43-44. Vol. VII/1 (1976), 33-35. Vol. VII/2 (1976), 30-31. Vol. VII/3 (1976), 31-35. Vol. VII/4 (1976), 2-15. Vol. VIII/1 (1977), 30-32 Vol. VIII/3 (1977), 13-25. Vol. VIII/4 (1977), 11-22. Vol. IX/1 (1978), 15-22. Vol. IX/2 (1978), 17-24. Vol. IX/3 (1978), 13-24. Vol. IX/4 (1978), 11-22. 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), 28-3 5. Vol. XIII/1 (1982), 2-4. 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), 25-3 5. Vol. XV/1 (1984), 29-43. Vol. XV/2 (1984), 35-44. Vol. XV/3 (1984), 33-36. Vol. XV/4 (1984), 37-52. Vol. XVIII/1 (1987), 25-36. Vol. XVIII/2 (1987), 4-32. Vol. XVIII/3 (1987), 11-37. Vol. XVIII/4 (1987), 29-54. Vol. XIX/2 (1988), 25-56. Vol. XIX/3 (1988), 19-74.

RIEMENSCHNEIDER, SELMA MARTING (1882-1971). Memorial Dedication, Vol. II/3 (1971), 3.

RIEMENSCHNEIDER, TOM (with Laura Kennelly). The Baldwin Wallace University Bach Legacy at 75 Years. Vol. XXXVIII/1 (2007), 67-85.

RIFKIN, JOSHUA. The Emperor's Headgear: A Brief Response to Don Smithers, JOSHUA RIFKIN, Vol. XXX/1, 70-73.

RIFKIN, JOSHUA F. Letter of 26 May 1983, in "From the Editor's Desk," Vol. XIV/3 (1983), 29-30.

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

RIMBACH, EVANGELINE. The Magnificat of Johann Kuhnau, Vol. XI/4 (1980), 24-31.

Ritornello: Italian Prototypes of the Baroque Ritornello, JAMES P. FAIRLEIGH, Vol. XIV/3 (1983), 2-11.

ROBISON, JOHN. The Lost Oboe Works of J. S. Bach, Part I, Vol. XIII/2 (1982), 2-5; Part II, Vol. XIII/3 (1982), 3-11; Part III, Vol. XIII/4 (1982), 30-35; Part IV/ Vol. XIV/1 (1983), 22-28; Part V, Vol. XIV/3 (1983), 18-28.

ROGAL, SAMUEL J. For the Love of Bach: The Charles Burney - Samuel Wesley Correspondence, Vol. XXIII/1 (1992), 31-37.

RUDOLF, MAX. (From Our Readers), Vol. VIII/3 (1977), 32-33.

RUDOLF, MAX. A Recently Discovered Composer-Annotated Score of the Brahms Requiem (With Supporting Authentication by Oswald Jonas and "Introductory Remarks" by Elinore Barber), Vol. VII/4 (1976), 2-15.

RUDOLF, MAX. Introduction to reprint of: Deceptive Performance Traditions, HANS T. DAVID, (ALFRED MANN, Translator), Vol. XXV/2 (1994), 36-53.

RUDOLF, MAX. Storm and Stress in Music, Part I, Vol. III/2 (1972), 3-13; Part II, Vol. III/3 (1972), 3-11; Part III, Vol. III/4 (1972), 8-16. Reprint, Vol. XXV/2 (1994), 6-35.

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