Riemenschneider Bach Institute

 

BACH Journal: Cumulative Index - [S] [T] [U]

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

Sacred Codes of the Six-Part Ricercar, The. ZOLTÁN GÖNCZ,  Vol. XLII/1 (2011), 46-69.

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

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

SCHENKMAN, WALTER. A Portrait of Mattheson The Editor, Together with His Correspondents, 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.

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

SCHENKMAN, WALTER. The Establishment of Tempo in Bach's Goldberg Variations, Vol. VI/3 (1975), 3-10.

SCHENKMAN, WALTER. The influence of Hexachordal Thinking in the Organization of Bach's Fugue Subjects, Vol. VII/3 (1976), 7-16.

SCHENKMAN, WALTER. Johann Mattheson's Organisten-Probe: Erläuterungen - A Translation, Part I, Vol. XII/4 (1981), 10-16.

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

SCHENKMAN, WALTER. Tatlow's Bach and Bach's Signatures in The Goldberg Variations, Vol. XXXIV/2, 63-106.

SCHENKMAN, WALTER. Theory and Practice: Mattheson's Differing Key Arrangements, Part I, Vol. XII/3 (1981), 2-10; Part II, Vol. XII/4 (1981), 3-9.

SCHENKMAN, WALTER. Three Collections of Keyboard Works by C. P. E. Bach, Part I, Vol. VIII/4 (1977), 23-35; Part II, Vol. IX/1 (1978), 2-14 and 23-25.

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

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

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

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

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

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

SCHULZE, HANS-JOACHIM. Ey! wie schmeckt der Coffee süße, Vol. XXXII/2 (2001), 36-117.

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

Schütz and the Psalms, ROBIN A. LEAVER, Vol. XVI/4 (1985), 34-48.

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

Schütz: Heinrich Schütz as a Biblical Interpreter, ROBIN A. LEAVER, Vol. IV/3 (1973), 3-8. Reprint, Vol. XVI/4 (1985), 4-8.

Schütz: List of the Settings of Bible Texts in the Works of Heinrich Schütz, ROBIN. A. LEAVER, Vol. IV/3 (1973), 8-12. Reprint, Vol. XVI/4 (1985) 24-31.

Schütz: The Funeral Sermon for Heinrich Schütz, ROBIN A. LEAVER, Part I, Vol. IV/4 (1973), 3-17; Part II, Vol. V/1 (1974), 9-22; Part III, Vol. V/2 (1974), 22-3 5; Part IV, Vol. V/3 (1974), 31-20. Reprint, Vol. XXV/2 (1994), 115-129.

SCHÜTZ, HEINRICH, (1585-1672). Memorial Dedication, Vol. XVI/4 (1985), 2.

Schweitzer: 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.

SCHWEITZER, ALBERT (1875-1965). Memorial Dedication, Vol. VI/4 (1975), 3.

SCHWEITZER, ALBERT. Albert Schweitzer Writes to Elinore Barber (Litterae ab musicis), May 19, 1963, Vol. II/2 (1971), 20-2 1; Vol. III/4 (1972), 25-27.

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

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

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

Seventeenth-Century Organ Instruction Book, A, HAROLD GLEASON, Vol. III/1 (1972), 3-12. Reprint, Vol. XII/3 (1981), 11-20.

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

SHATZKIN, MERTON. Thematic Anticipations in Bach, Part I, Vol. XV/2 (1984), 26-34; Part II, Vol. XV/3 (1984), 12-23.

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

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

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

Six-Four Chord without Theory: An "Unofficial" History, The, HANS T. DAVID, Part I, Vol. II/3 (1971), 7-14; Part II, Vol. II/4 (1971), 3-9.

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

SMITH, TIMOTHY A. More Evidence of Numeral-Logical Design in Bach's St. Matthew Passion, Vol. XVII/2 (1986), 24-30.

SMITH, TIMOTHY A. That Crown of Thorns, Vol. XXVIII/1-2 (1997), 144-150.

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

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

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

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

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

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

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.

Sonatas and Partitas: 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.

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

Sources for Dryden's King Arthur, The, WILLIAM R. HILL, Vol. XII/1 (1981), 23-29. Reprint, Vol. XXV/2 (1994), 99-106.

Sources of J. S. Bach's Well-Tempered Clavier II in Vienna 1777-1801, The, YO TOMITA, XXIX/2 (1998), 8-79.

Special Bi-Lingual offering, A: The Historical Background of the Composition of Johann Sebastian Bach's Clavier Suite, ALFRED D�RR, 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.

SPITTA, PHILIPP. Dr. Philipp Spitta Writes in 1871 Concerning Some Bach Autographs and the Dating of Bach Works, (Litterae ab musicis), Vol. III/1 (1972), 22-26.

SPIVACKE, HAROLD (1904-1977). Memorial Dedication, Vol. VIII/3 (1977), 2.

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

St. Matthew Passion: 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.
St. Matthew Passion: More Evidence of Numeral-Logical Design in Bach's St. Matthew Passion, TIMOTHY A. SMITH, Vol. XVII/2 (1986), 24-30.

St. Matthew Passion: Musical Forms and Dramatic Structure in Bach's St Matthew Passion, CHRISTOPH WOLFF, Vol. XDUI (1988), 6-20.

STEIGER, RENATE, Dialogue Structures in J. S. Bach's Cantatas: The Basic Form of Worship as a Model for Artistic Shaping, Vol. XXXIII/2, 35-70

Stilkritik und Textphilologie im Dienste der "inneren Chronologie." Stilkritische Untersuchungen zu ausgew�hlten Arien Johann Sebastian Bachs, REINMAR EMANS, Vol. XXVI/1-2, 1-14.

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

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

Storm and Stress in Music, MAX RUDOLF, 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.

Story Behind Alfred D�rr's "Capriccio," The, GERHARD HERZ, Vol. XXI/3 (1990), 4-8.

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

Structures of Some Composite Works of the Seventeenth and Eighteenth Centuries, HANS T. DAVID, Vol. I/4 (1970), 28-30.

Style galant: "Tilge, H�chster, Meine S�nden": Observations of Bach and the Style galant, KENNETH NOTT, Vol. XXIII/1 (1992), 3-30.

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

Stylistic Analysis and Text Philology in the Service of "Inner" Chronology" Involving Stylistic Analyses of Selected Arias by Johann Sebastian Bach, REINMAR EMANS, Vol. XXVI/1-2, 1-14.

Suggestions for Future Research into Bach and the Chorale: Aspects of Repertoire, Pedagogy, Theory, and Practice, LEAVER, ROBIN A., Vol. XLI/2 (2011), 40-63.

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

S��e Todesstunde or Mit Fried und Freud: Reformation Theology and the Lutheran "Art of Dying" in Two Bach Cantatas. SCOTT C. MILNER. Vol. XXXI/1 (2000), 34�57.

Schweitzer and Bach, ELINORE BARBER, Vol. XXXII/1 (2001), 73-76.

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

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

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

Symbolism: That Crown of Thorns, TIMOTHY A. SMITH, Vol. XXVIII/1-2 (1997), 144-150.

SZELL, GEORGE (1897-1970). Memorial Dedication, Vol. I/4 (1970), 3.

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.

TATLOW, RUTH. J. S. Bach and the Baroque Paragram: A Reappraisal of Friedrich Smend's Number Alphabet Theory, Vol. XX/3 (1989), 15-33.

Tatlow's Bach and Bach's Signatures in The Goldberg Variations, WALTER SCHENKMAN, Vol. XXXIV/2, 63-106.

Telemann Concerto for Violin and Strings?: Some Hints on the Reconstruction of an Unidentified Concerto, A, CHRISTINE SUZANNE GETZ, Vol. XIX/2 (1988), 3-24.

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

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

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

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

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

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

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

Tempo: Meter and Tempo Indications in Music of the Early Baroque, WALTER WINZENBURGER, Vol. III/1 (1972), 13-21.

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

Tempo Relation in a Class of Keyboard Compositions from Sweelinck to Bach, PAUL JOHNSON, Vol. XVIII/4 (1987), 4-28.

Tempo Relation in a Class of Keyboard Compositions from Sweelinck to Bach, PAUL JOHNSON, Vol. XVIII/4 (1987), 4-28.

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

Tempo: The Establishment of Tempo in Bach's Goldberg Variations, WALTER SCHENKMAN, Vol. VI/3 (1975), 3-10.

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

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

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

Text of "Gott Ist Mein Konig" BWV 71, The, DANIEL R. MELAMED, Vol. XXXII/1 (2001), 1-16.

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

Texts: 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.

Thalers, Patrons, and Commerce - A Glimpse at the Economy in the Times of J. S. Bach, ROBERT R. EBERT, Vol. XVI/3 (1985), 37-54.

That Crown of Thorns, TIMOTHY A. SMITH, Vol. XXVIII/1-2 (1997), 144-150.

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

Thematic Anticipations in Bach, MERTON SHATZKIN, Part I, Vol. XV/2 (1984), 26-34; Part II, Vol. XV/3 (1984), 12-23.

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

Theology: Johann Sebastian Bach: Theological Musician and Musical Theologian, ROBIN A. LEAVER, Vol. XXXI/1 (2000), 17�33.

Theology: 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.

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

Theology:  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.

Theology: S��e Todesstunde or Mit Fried und Freud: Reformation Theology and the Lutheran "Art of Dying" in Two Bach Cantatas. SCOTT C. MILNER. Vol. XXXI/1 (2000), 34�57.

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

Theology: 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.

Theory and Practice: Mattheson's Differing Key Arrangements, WALTER SCHENKMAN, Part I, Vol. XII/3 (1981), 2-10; Part II, Vol. XII/4 (1981), 3-9.

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

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.

"Tilge, H�chster, Meine S�nden": Observations of Bach and the Style galant, KENNETH NOTT, Vol. XXIII/1 (1992), 3-30.

Time Signatures of the Well- Tempered Clavier: Their Place in Notational History, EDNA KILGORE, Vol. IV/2 (1973), 3-16.

Titles: The Original Titles of Bach's Works, HANS T. DAVID, Vol. I/1 (1970), 5-14.

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

TOMITA, YO. 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, Vol. XXX/2 (1999), 49�73.

TOMITA, YO. Psalm and the Well-Tempered Clavier II: Revisiting the Old Question of Bach's Source of Inspiration, Vol. XXXII/1 (2001), 17-44.

TOMITA, YO. The Sources of J. S. Bach's Well-Tempered Clavier II in Vienna 1777-1801, YO TOMITA, XXIX/2 (1998), 8-79.

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

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.

TRAUTMAN, CHRISTOPH. Bach's Clavier�bung III (ALFRED MANN, Translator), Vol. XV/3 (1984), 3-11.

TROUT, SHIRLEY. On Playing the Lute: Documentary Material, Translation of the Section on Playing the Lute from Sebastian Virdung's Musica getutscht [Basel, 1511], (Notizbuch f�r Studenten), Part I, Vol. VI/3 (1975), 36-40; Part II, Vol. VI/4 (1975), 30-35.

Tr�gensche Auff�hrungstraditionen, HANS T. DAVID, Vol. XXI/2 (1990), 23-30.

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

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

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

Tuning: A Mathematical Approach: Reconstituting J. S. Bach's Keyboard Temperament, HERBERT ANTON KELLNER, Vol. X/4 (1979), 2-8.

Tuning: A Mathematical Approach Reconstituting J. S. Bach's Keyboard Temperament (revised), HERBERT ANTON KELLNER, Vol. XXX/1, 1�9.

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

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

The Ultimate Goal of Bach's Art, MARTIN GECK, Vol. XXXV/1 (2004), 29-41.

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

UNGER, MELVIN P. Future Editor of BACH Journal, The, Vol. XXVIII/1-2 (1997), v.

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.

Unknown Detail of Handel Biography, An, ALFRED MANN, Vol. XVI/2 (1985), 3-5. Reprint, Vol. XXV/2 (1994), 59-62.

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

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

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