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TypeListAuthor: Title, Series, Vol/No (Year/Month/Date of Publication), PagesStatus
1. Tomita, Yo:   The Well-Tempered Clavier II and Pianoforte Performance. Appreciation of Bach's profound compositional level - Theological and philosophical Speculation. diss. (1986), 86p
2. Tomita, Yo:   J. S. Bach's Well-Tempered Clavier, Book II: A Study of its Aim, Historical Significance and Compiling Process. diss. (1990), xv, 317, 88, 608, 45p
3. Tomita, Yo:   J. S. Bach's 'Das Wohltemperierte Clavier II': A Critical Commentary. Vol. I: Autograph Manuscripts. (1993), iv, 146p
4. Tomita, Yo:   Bach, The Font: inline Music Graphics for Databases and Spreadsheets. ComputingMcol 9 (1993-94), 61-64
5. Tomita, Yo:   J. S. Bach's 'Das Wohltemperierte Clavier II': A Critical Commentary. Vol.II. All the Extant Manuscripts. (1995), xxx, 1001p
6. Tomita, Yo:   The Well-Tempered Clavier, Book 1 (BWV 846-869). (1996)
7. Tomita, Yo:   A new light shed on the origin of Mozart's KV 404a and 405 through the recent source study of J. S. Bach's Well-Tempered Clavier II. [p]BMC_London (Apr 1996)
8. Tomita, Yo:   J. S. Bach's Well-Tempered Clavier II in Vienna, 1777-1801: A Unique Reception History. [p]RMA_Belfast (May 1996)
9. Tomita, Yo:   Assessing a text-critical database using AI techniques. [p]RMA_London (Nov 1996)
10. Tomita, Yo:   The 'Goldberg' Variations (BWV 988). (1997)
11. Tomita, Yo:   Reading Inspiration from Autograph Manuscripts: Musicologist's Advice to Performers on the second Book of the '48'. [p]JSBRI_Birmingham (May 1997)
12. Tomita, Yo:   1780nendai Wien to 'Heikinritsu Klavier Kyokushu' Dai-2-Kan. Shiryo Densho kara kaimamiru fukuzatsu de unique na Juyoshi. [p]MSJ_Tokyo (Feb 1997)
13. Tomita, Yo:   The Sources of J. S. Bach's Well-Tempered Clavier II in Vienna 1777-1801. Bach 29/2 (Fall-Winter 1998), 8-79
14. Tomita, Yo:   'London Jihitsufu' to 'Heikinritsu Clavier Kyokushu'. BachZenshu 12 (Jul 1998), 64-83
15. Tomita, Yo:   Analysing Bach's ink through a glass darkly. MTimes 139/1865 (Winter 1998), 37-38, 40-42
16. Tomita, Yo:   Hitherto unknown musical transcription of Psalms in Bach's Well-Tempered Clavier, Book II? The old question revisited [p]BCB_Exeter (Jul 1998)
17. Tomita, Yo:   Some considerations on current methods of studying Bach's autograph manuscripts with particular reference to isolating his revisions through the analysis of ink: an interim report. [p]RMA_Belfast (May 1998)
18. Tomita, Yo:   The Inventions and Sinfonias (BWV 772-801). (1999)
19. 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. Bach 30/2 (1999), 49-72
20. Tomita, Yo:   Das Wohltemperierte Clavier in England. Abschriften aus dem Besitz von Charles Burney und Friedrich Wilhelm Marpurg. BachJb 85 (1999), 143-149
21. Tomita, Yo:   Transmission of Bach's WTC in England during the Second Half of the Eighteenth Century. [p]RMA_Waterford (May 1999)
22. Tomita, Yo:   Clavier-Übung III ('The German Organ Mass') (2000)
23. Tomita, Yo:   Bach Reception in Pre-Classical Vienna: Baron van Swieten's Circle Edits the 'Well-Tempered Clavier' II. MLetters 81/3 (Aug 2000), 364-391
24. Tomita, Yo:   Bach's Credo in England: an early history. [p]BCB_Dublin (Jul 2000)
25. Tomita, Yo:   Setting up Research Resources for the Future: The On-line Bach Bibliography Project and International Collaboration. [p]IBS_Utrecht (Sep 2000)
26. Tomita, Yo:   Hitherto unknown Bach canons? Some findings from recent research into the dawn of the Bach movement in England. [p]WK_Leipzig (Jan 2000)
27. Tomita, Yo:   Select Bibliography. AmerBachSocNL (Spring 2001), 6-7
28. Tomita, Yo:   Psalm and the Well-Tempered Clavier II: Revisiting the Old Question of Bach's Source of Inspiration. Bach 32/1 (2001), 17-43
29. Tomita, Yo:   The Six Partitas (BWV 825-830). (2002)
30. Tomita, Yo:   Select Bibliography. AmerBachSocNL (Spring 2002), 6-7
31. Fujinami, Tsutomu; Tomita, Yo:   Heikinritsu Clavier Kyokushu Dai-2-Kan no Shukofu ni kansuru Database Kochiku to sono Riyo. IPSJSIGNotes 100 (Oct 2002), 21-26
32. Tomita, Yo:   Gibt es bisher unbekannte Kanons von Bach? Ergebnisse jüngster Forschungen zur Frühzeit der Bach-Bewegung in England. LeipzigerBeitrBachF 5 (2002), 497-519
33. Tomita, Yo:   On-line Bach Bibliography: a brief introduction and demonstration. [p]ABS_Houston (Apr 2002)
34. Tomita, Yo:   The Bach competition of 1801: the battle against time and correctness as seen in the first complete editions of the Well-Tempered Clavier. [p]BCB_Logrono (Jul 2002)
35. Tomita, Yo:   Struggle for correctness: Samuel Wesley as an editor of Bach's keyboard works. [p]BS_Dortmund (Jan-Feb 2002)
36. Tomita, Yo:   The translation of twenty-four most recent musical thoughts?: a new hypothesis on the origin of the Well-Tempered Clavier II. [p]IATB_Eisenach (Mar 2002)
37. Tomita, Yo; Fujinami, Tsutomu:   Managing a text-critical database of J.S. Bach's 'Well-Tempered Clavier II' with XML and a relational database. [p]IMS_Leuven (Aug 2002)
38. Tomita, Yo:   Samuel Wesley as analyst of Bach's fugues. [p]RMA_Dublin (May 2002)
39. Tomita, Yo:   The French Suites (BWV 812-817). (2003)
40. Tomita, Yo:   Bachfest Leipzig 2003. 23 May-1 June. Review. (29 Jun 2003)
41. Tomita, Yo:   Select Bibliography. AmerBachSocNL (Spring 2003), 6-7
42. Tomita, Yo:   Kangengaku Kumikyoku o megutte. BCJ 61 (Oct 2003), 16-18
43. Tomita, Yo:   Streben nach Korrektheit: Samuel Wesley als Herausgeber von Bachs Klavierwerken. DortmundBachF 6 (2003), 87-103
44. Tomita, Yo:   Pursuit of perfection: stages of revision in Wesley and Horn's 'New and Correct' edition of Bach's '48'. [p]SMI_Maynooth (May 2003)
45. Tomita, Yo:   Bachfest Leipzig 2004. Bach und die Romantik - Bach and the Age of Romanticism. 14 - 23 May 2004. Review. (11 Jul 2004)
46. Tomita, Yo:   Stages of revision of the Wesley/Horn '48' title-page plate. (2004)
47. Tomita, Yo:   Bachfest Leipzig 2004. BachNotesABS 2 (Fall 2004), 5
48. Tomita, Yo:   Bachfest Leipzig 2004. BachNotesLBS (Sep 2004), [3]
49. Tomita, Yo:   The Dawn of the English Bach Awakening Manifested in Sources of the '48'. [ce]EnglishBachAwakening (2004), 35-167
50. Tomita, Yo:   Pursuit of Perfection: Stages of Revision of the Wesley/Horn '48'. [ce]EnglishBachAwakening (2004), 341-377
51. Tomita, Yo:   Samuel Wesley as Analyst of Bach's Fugues. [ce]EnglishBachAwakening (2004), 379-402
52. Tomita, Yo:   Breaking the Limits: Some Preliminary Considerations on Introducing an e-Science Model to Source Studies. [cr]Shizuoka2002 (2004), 233-237
53. Tomita, Yo:   Bach's Credo in England: an early history. IrishMStud 8 (2004), 205-227
54. Leahy, Anne; Tomita, Yo (eds.):   Bach Studies from Dublin: Selected papers presented at the ninth biennial conference on Baroque music, held at Trinity College Dublin from 12th to 16th July 2000. IrishMStud 8 (2004), 270p
55. Tomita, Yo:   Re-examining the role of Kirnberger in the compilation and dissemination of Bach's Well-Tempered Clavier II. [p]BICB_Manchester (Jul 2004)
56. Tomita, Yo:   Recently discovered sources of Bach's Well-Tempered Clavier and their implication. [p]SMI_Belfast (May 2004)
57. Tomita, Yo:   Bachfest Leipzig 2005. Bach und die Zukunft - Bach and the Future. 29 April - 8 May 2005. Review. (20 Jun 2005)
58. Tomita, Yo:   Surviving copies of the Wesley/Horn '48'. (2005)
59. Tomita, Yo:   The Simrock Edition of the Well-Tempered Clavier II. (2005)
60. Tomita, Yo:   Bachfest Leipzig 2005: 'Bach und die Zukunft'. BachNotesABS 4 (Fall 2005), 7
61. Tomita, Yo:   Leipzig, a City of Festivals. Bachfest'05- a view from the pew. BachNotesLBS (Sep 2005), [3-4]
62. Higuchi, Ryuichi; Kobayashi, Yoshitake; Beißwenger, Kirsten; Tomita, Yo; Sato, Nozomi; Isoyama, Tadashi:   Roundtable 1: Bach Kenkyu to 21 Seiki. OngakuGaku 51/3 (2005), 233-235
63. Tomita, Yo:   Bach Kenkyu no atarashii Keiko to Shorai ni kanshite no Ichikosatsu. OngakuGaku 51/3 (2005), 234
64. Tomita, Yo:   The Bach reception in the first half of the nineteenth-century England seen through the manuscript and printed sources of the Well-Tempered Clavier. [p]BICM19C_Nottingham (Jul 2005)
65. Higuchi, Ryuichi; Kobayashi, Yoshitake; Beißwenger, Kirsten; Tomita, Yo; Sato, Nozomi; Isoyama, Tadashi:   Roundtable 'Bach Kenkyu to 21Seiki'. [p]MSJ_Tokyo (Oct 2005)
66. Tomita, Yo:   Editing Bach's Well-Tempered Clavier, Part 2. (Jun 2006)
67. Tomita, Yo:   The Clavier-Übung II (BWV 971 and 831) (2006)
68. Tomita, Yo:   Bachfest Leipzig 2006: 'Von Bach zu Mozart'. May 27 to June 5. BachNotesABS 6 (Fall 2006), 15
69. Tomita, Yo:   Bachfest Leipzig '06 -- Another View from the Stalls. BachNotesLBS (Sep 2006), [4]
70. Tomita, Yo:   Bach, Johann Sebastian (b. Eisenach, 21 Mar. 1685; d. Leipzig, 28 July 1750) [ce]CambridgeMozartEncyclopedia (2006), 38-41
71. Tomita, Yo:   'Most ingenious, most learned, and yet practicable work': The English reception of Bach's Well-Tempered Clavier in the first half of the nineteenth century seen through the editions published in London. [p]ABS_Leipzig (May 2006)
72. Tomita, Yo:   Reconstructing Bach's conjugal conversation. Re-assessing the contribution and the musicological value of the work of Anna Magdalena Bach. [p]BICB_Warsaw (Jul 2006)
73. Tomita, Yo (ed.):   Das Wohltemperierte Klavier ; Teil II / Johann Sebastian Bach. (2007), xiii, 164p
74. Tomita, Yo (ed.):   Das Wohltemperierte Klavier ; Teil II / Johann Sebastian Bach. (2007), xvii, 164p
75. Tomita, Yo:   'Most ingenious, most learned, and yet practicable work': The English reception of Bach's The Well-Tempered Clavier in the first half of the nineteenth century as seen through the editions published in London. BachNotesABS 7 (Spring 2007), 1-12
76. Tomita, Yo:   'Most ingenious, most learned, and yet practicable work': The English Reception of Bach's Well-Tempered Clavier in the First Half of the Nineteenth Century seen through the Editions Published in London. [ce]Piano19CBritishCulture (2007), 33-67
77. Tomita, Yo; Crean, Elise; Mills, Ian (eds.):   International Symposium: Understanding Bach's B-minor Mass. Discussion Book 1. Full Papers by the Speakers at the Symposium on 2, 3 and 4 November 2007. [cr]Belfast2007 1 (2007), x, 356p
78. Tomita, Yo; Kovacevic, Tanja; [Kovaèeviæ] (eds.):   International Symposium: Understanding Bach's B-minor Mass. Discussion Book 2. Resource Book. [cr]Belfast2007 2 (2007), 357-511p Latin 2
79. [Kovacevic, Tanja; Tomita, Yo; Leaver, Robin A.]:   B-minor Mass: Select Bibliography. [cr]Belfast2007 2 (2007), 492-504
80. Tomita, Yo:   Bach and Dresden: A New Hypothesis on the Origin of the Goldberg Variations (BWV 988). [fs]Leaver65 (2007), 169-191
81. Tomita, Yo:   Anna Magdalena as Bach's Copyist. UnderstandingBach 2 (2007), 59-76
82. Tomita, Yo:   Bachfest Leipzig 2008. Bach und seine Söhne - Bach and his sons. 13 June - 22 June 2008. Review. (14 Aug 2008)
83. Tomita, Yo:   'Bach and His Sons' Bachfest Leipzig 2008. BachNotesABS 10 (Fall 2008), 8-9
84. Tomita, Yo:   Bachfest Leipzig 2008. BachNotesLBS (Sep 2008), [3]
85. Tomita, Yo:   Reading Soul from Manuscripts: Observations on Performance Issues in J.S. Bach's Habits of Writing his Music. [p]BICB_Leeds (Jul 2008)
86. Tomita, Yo:   Anna Magdalena as Bach's Copyist. [p]BNUK_Oxford (Jan 2008)
87. Tomita, Yo:   Bach Botsugo 50-nenkan ni okeru Mubanso Violin no tame no Sonata to Partita no Densho to Juyo ni kanshite. [p]MSJ_Tokyo (Oct 2008)
88. Kovacevic, Tanja; [Kovaèeviæ]; Tomita, Yo:   Neue Quellen zu Johann Sebastian Bachs Violinsoli (BWV 1001-1006). Zur Rekonstruktion eines wichtigen Überlieferungszweigs. BachJb 95 (2009), 49-74 Latin 2
89. Tomita, Yo:   Bachfest Leipzig 2009. An appreciation. BachNotesLBS (Sep 2009), [4]
90. Niitsuma, Masahiro; Fujinami, Tsutomu; Tomita, Yo:   The Intersection of Computational Analysis and Music Manuscripts: A New Model for Bach Source Studies of the 21st Century. ISMIR 10 (2009), 519-523
91. Tomita, Yo:   Bach no Jihitsufu kara Wareware wa Nani o manaberu ka. Ensosha to Kenkyusha no Eien no Kadai. KunitachiColMResearchInstBul 21 (Mar 2009), 159-174
92. Niitsuma, Masahiro; Tomita, Yo:   The Intersection of Computational Analysis and Music Manuscripts: A New Model for Bach Source Studies of the 21st Century. [p]MwW_Belfast (Dec 2009)
93. Tomita, Yo:   The Well-Tempered Clavier in Pre-Classical Vienna: A New Source and Its Implication. [p]MwW_Belfast (Dec 2009)
94. Tomita, Yo:   Bachowskie przebudzenie Mozarta - studium kontekstu. PrzegladMuzykologiczny 7 (2009), 191-223 Latin 2
95. Tomita, Yo:   Anna Magdalena as Bach's Copyist. [p]Women_Yale (Oct 2009)
96. Tomita, Yo:   The Bachfest Leipzig 2009 -- A Review. BachNotesABS 12 (Winter 2010), 1-2
97. Tomita, Yo:   Bachfest Leipzig 2010. BachNotesLBS (Autumn 2010), [2-3]
98. Tomita, Yo:   Orijinaru Shiryo kara manabu Bach no 'Partita' Dai-2-ban to Dai-6-ban. KunitachiColMResearchInstBul 22 (Mar 2010), 107-131
99. Tomita, Yo:   The Well-Tempered Clavier in Pre-Classical Vienna: A New Source and Its Implication. [p]BICB_Belfast (Jul 2010)
100. Tomita, Yo:   Psalm and the Well-Tempered Clavier II: Revisiting the Old Question of Bach's Source of Inspiration. [ce]BaroqueComposers (2011), 465-491
101. Tomita, Yo:   Introduction. [ce]BaroqueComposers (2011), xv-xxxvii
102. Tomita, Yo (ed.):   Bach. [ce]BaroqueComposers (2011), xxxvii, 574p
103. Tomita, Yo:   Reading Soul from Manuscripts: Some Observations on Performance Issues in J. S. Bach's Habits of Writing His Music. [fs]Hogwood70 (2011), 13-40
104. Niitsuma, Masahiro; Tomita, Yo:   Classifying Bach's Handwritten C-Clefs. ISMIR 12 (2011), 417-422
105. Tomita, Yo:   'Goldberg Hensokyoku' no Seiritsu wo megutte: Gendai ni okeru Pianist e no Ichiteigen. KunitachiColMResearchInstBul 23 (Mar 2011), 91-115
106. Tomita, Yo:   Deciphering J. S. Bach's Performance Hints in his autograph manuscripts. [p]1ICHKM_Edinburgh (Jul 2011)
107. Tomita, Yo:   The Implications of Bach's Introduction of New Fugal Techniques and Procedures in the Well-Tempered Clavier Book Two. [p]BNUK_Edinburgh (Aug 2011)
108. Tomita, Yo:   19-seiki no Shuppanfu kara miru Bach Juyo no Shoyoso. [p]MSJ_Tokyo (Nov 2011)
109. Tomita, Yo:   The Implications of Bach's Introduction of New Fugal Techniques and Procedures in the Well-Tempered Clavier, Book Two. UnderstandingBach 6 (2011), 35-50
110. Tomita, Yo:   Songs Both New and Old -- A Review of the Bachfest Leipzig 2012. BachNotesABS 17 (Fall 2012), 1-5
111. Tomita, Yo:   Leipzig's Bachfest sines again: an appreciation. BachNotesLBS (Autumn 2012), [3]
112. Tomita, Yo:   'Rotancho Misakyoku' to Bach Kenkyu: Sakuhin no Densho to Gakufu Henshushi kara miru Kenkyujo no Shomondai. KunitachiColMResearchInstBul 24 (Mar 2012), 145-182
113. Tomita, Yo:   Veiled aspects of Bach Reception in the 19th century exposed through a macro-level examination of prints. [p]BICB_Southampton (Jul 2012)
114. Tomita, Yo:   Veiled Aspects of Bach Reception in the long Nineteenth Century Exposed through a Macro-examination of Printed Music: with Particular Focus on The Well-Tempered Clavier. UnderstandingBach 7 (2012), 29-53
115. Niitsuma, Masahiro; Schomaker, Lambert; Oosten, Jean-Paul van; Tomita, Yo:   Writer Identification in Old Music Manuscripts Using Contour-Hinge Feature and Dimensionality Reduction with an Autoencoder. (2013), 555-562
116. Ebata, Nobuaki; Tomita, Yo; Mills, Ian:   Mendelssohn and The Schübler Chorales (BWV 645-650): A New Source found in the Riemenschneider Bach Institute Collection. Bach 44/1 (2013), 1-45
117. Tomita, Yo:   Challenging Virtuality: A Response to Ruth Tatlow. BachNotesABS 18 (Spring 2013), 3-6
118. Tomita, Yo:   Leipzig's Bachfest [2013] enthrals. BachNotesLBS (Autumn 2013), [3]
119. Tomita, Yo:   J. S. Bach no Kantata no Kenkyushi o megutte. BCJ 100 (Feb 2013), 34-37
120. Tomita, Yo; Leaver, Robin A.; Smaczny, Jan (eds.):   Exploring Bach's B-minor Mass. [ce]ExploringBMM (2013), xxix, 314p
121. Tomita, Yo:   In Memoriam: Alison Jayne Dunlop (1985-2013) BachNotesABS 20 (Spring 2014), 6-7
122. Tomita, Yo:   Revisiting Altnickol's 1744 Copy of the Well-Tempered Clavier, Book II. [p]BICB_Salzburg (Jul 2014)
123. Tomita, Yo:   'So herrlich stehst du, liebe Stadt!': Report on Bachfest Leipzig 12-21 June 2015. BachNotesABS 23 (Fall 2015), 8-11
124. Tomita, Yo:   Bachfest Leipzig 2015: 'So herrlich stehst du, liebe Stadt!' -- A Report BachNotesLBS (Autumn 2015), [4]
125. Butt, John; Tomita, Yo; Marissen, Michael; Varwig, Bettina:   Principles of Performance Lost and Gained: John Butt on Bach-related subjects in conversation with Yo Tomita, Michael Marissen and Bettina Varwig. [p]BNUK_Cambridge (Jul 2015)
126. Tomita, Yo; Blanken, Christine; Hausmann, Christiane:   New Online Resources for Bach Scholarship. [p]BNUK_Cambridge (Jul 2015)
127. Tomita, Yo:   Bahha no Sakkyoku Katei to Enso e no Hinto o 8-bun Onpu no Renko kara yomitoku. [p]MSJ_Tokyo (Nov 2015)
128. Tomita, Yo:   Review -- 'Geheimnisse der Harmonie': Bachfest Leipzig 2016. BachNotesABS 25 (Fall 2016), 9-11
129. Tomita, Yo:   Bachfest Leipzig 2016, a review from the pews. BachNotesLBS (Autumn 2016), [5]
130. Tomita, Yo:   Program Notes. [BWV 232] BCJ 120 (Nov 2016), 12-17
131. Tomita, Yo:   Deciphering the performance hints hidden in J. S. Bach's quaver beams. EarlyM 44/1 (Feb 2016), 89-104
132. Tomita, Yo:   Towards the accurate understanding of J. C. Altnickol's copies of Bach's works. [p]BICB_Canterbury (Jul 2016)
133. Tomita, Yo:   Reading performance implications from J. S. Bach's eighth-note beams. [p]HPI_Bloomington (May 2016)
134. Tomita, Yo:   Manuscripts. [ce]RoutledgeResearchCompanion (2017), 47-88
135. Tomita, Yo:   Revisiting the reception of J. S. Bach's Well-Tempered Clavier II in pre-Classical Vienna. [fs]Gillen (2017), 318-359
136. Tomita, Yo; Schulenberg, David; Lewis, Daniel Martyn:   Bach's quaver notation and performance implications. [p]BNUK_Cambridge (Jul 2017)
137. Tomita, Yo; Blanken, Christine; Rettinghaus, Klaus; Ebata, Nobuaki:   Towards the Development of the Next Generation of Online Resources for Bach Scholarship. [p]IMS_Tokyo (Mar 2017)
138. Tomita, Yo:   Exploring J. S. Bach's musical thinking and performance intentions through the examination of his quaver-beam notation. [p]IMS_Tokyo (Mar 2017)
139. Tomita, Yo:   Bachfest Leipzig 2018: Cycles ; A Conference Report. BachNotesABS 29 (Fall 2018), [1]-3
140. Tomita, Yo:   Bachfest Leipzig 2018: a review. BachNotesLBS (Autumn 2018), [6]
141. Tomita, Yo:   The Passions as a Source of Inspiration? A Hypothesis on the Origin and Musical Aim of Well-Tempered Clavier II. ContextBachStud 8 (2018), 225-242
142. Tomita, Yo:   Hof-Compositeur Bach: A Review of Bachfest Leipzig 2019. BachNotesABS 31 (Fall 2019), 11-14
143. Tomita, Yo:   Bachfest Leipzig 2019 - A report BachNotesLBS (Autumn 2019), [3]
144. Tomita, Yo:   Program Notes. [BWV 1046-1051] BCJ 135 (Nov 2019), 12-19
145. Tomita, Yo:   Aspects of the Reception of Bach's Well-Tempered Clavier in Chopin's Time: An Overview of Print and Manuscript Sources. [cr]Warsaw2017 (2019), 171-196
146. Tomita, Yo:   Report: Bachfest Leipzig 2022. BachNotesABS 37 (Fall 2022), 2-7
147. Tomita, Yo:   Program Notes. [BWV 1063, 1060, 1064, 535, 30] BCJ 147 (Mar 2022), 14-19
148. Windram, Heather F.; Charlston, Terence; Tomita, Yo; Howe, Christopher J.:   A phylogenetic analysis of two preludes from J. S. Bach's Well-Tempered Clavier II. EarlyM 50/3 (Aug 2022), 373-393
149. Tomita, Yo:   Bachfest Leipzig. NEMANL 6/2 (Autumn 2022), 79-87
150. Tomita, Yo:   J. S. Bachs Flötensonate in h-Moll BWV3 1030.2 und Johann Gottlieb Goldberg. BachJb 109 (2023), 207-214
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