| Author |
Title |
Series |
Vol |
No |
Year |
Pages |
NB |
| Mendel, Arthur | Documentary evidence concerning the aria 'Ich folge dir gleichfalls' from Bach's St. John Passion'. | ColMSymposium | 5 | | Fall 1965 | 63-67 | |
| Grout, Donald J. | Historical approach. No.13 'Ich folge dir gleichfalls' from Bach Passion according to St. John. | ColMSymposium | 5 | | Fall 1965 | 68-76 | |
| Cone, E. T. | On the structure of Ich folge dir. | ColMSymposium | 5 | | Fall 1965 | 77-87 | |
| Lippman, Edward A. | An interpretation of Bach's 'Ich folge dir gleichfalls'. | ColMSymposium | 5 | | Fall 1965 | 88-96 | |
| Scharf, Warren A. | Baldwin-Wallace College. | ColMSymposium | 9 | | Fall 1969 | 21-22 | |
| Cahn, Meyer E. | Bach is not enough. | ColMSymposium | 12 | | Fall 1972 | 47-53 | |
| Godt, Irving | C. P. E. Bach his mark. | ColMSymposium | 19 | 2 | Fall 1979 | 154-161 | |
| Brown, A. Peter | Approaching musical Classicism: understanding styles and style change in eighteenth-century instrumental music. | ColMSymposium | 20 | 1 | Spring 1980 | 7-48 | |
| Brown, Leslie Ellen | Oratorical Thought and the Tragédie lyrique: A Consideration of Musical-Rhetorical Figures. | ColMSymposium | 20 | 2 | Fall 1980 | 99-116 | |
| Seaton, Douglass | A Composition Course with Karl Friedrich Zelter. | ColMSymposium | 21 | 2 | Fall 1981 | 126-138 | |
| Eiseman, David | A structural model for the 'Eroica' finale? | ColMSymposium | 22 | 2 | Fall 1982 | 138-147 | |
| Jordan, Paul | Helmut Walcha: Artist-Teacher. | ColMSymposium | 22 | 2 | Fall 1982 | 148-154 | |
| Harrow, Peter | Bach the humorist. | ColMSymposium | 25 | | 1985 | 48-51 | |
| Dahlhaus, Carl | The Eighteenth Century as a Music-Historical Epoch. | ColMSymposium | 26 | | 1986 | 1-6 | |
| Marshall, Robert L. | The Eighteenth Century as a Music-Historical Epoch: A Different Argument for the Proposition. | ColMSymposium | 27 | | 1987 | 198-205 | |
| Nayberg, Alexander | Ode to the Fugue. | ColMSymposium | 29 | | 1989 | 161-163 | |
| Rogers, M. R. | The Rich Messiness of Music. Teaching Theory in Music With Contradictions and Paradox. | ColMSymposium | 30 | 1 | Spring 1990 | 134-141 | |
| Loewy, Andrea Kapell | Frederick the Great: Flutist and composer. | ColMSymposium | 30 | 2 | Fall 1990 | 117-125 | |
| Harrow, Peter | New Solutions to Canon 10 of J. S. Bach's Fourteen Canons BWV 1087. | ColMSymposium | 30 | 2 | Fall 1990 | 90-99 | |
| Crist, Stephen A. | Beyond 'Bach-Centrism': Historiographic Perspectives on Johann Sebastian Bach and Seventeenth-Century Music. | ColMSymposium | 33-34 | | 1993-94 | 56-69 | |
| Lester, Joel | J. S. Bach teaches us how to compose: four pattern Preludes of the Well-Tempered Clavier. | ColMSymposium | 38 | | 1998 | 33-46 | |
| Collins, Denis | 'So you want to write a canon?' An historically-informed new approach for the modern theory class. | ColMSymposium | 48 | | 2008 | 108-123 | |
| Bates, Ian | Reading, interpreting, translating: Three transcriptions of a Bach chorale. | ColMSymposium | 56 | | 2016 | | |
| Larsen, Josquin | Motivic continuity in the instrumental suites, sonatas, and partitas of J.S. Bach. | ColMSymposium | 60 | 1 | May 2020 | | |
24 matches.
