Focuses on the differences and controversies regarding the interpretation of J.S. Bach's solo violin Sonatas and Partitas, particularly the Sonata No.1 in G minor. Through an in-depth study of scores, interviews, and recordings, the author shows how she believes the music of J.S. Bach should be properly interpreted and why performers should not aim to imitate a style of playing based on when a certain composer lived.

A Flute solo with Piano Accompaniment composed by Johann Sebastian Bach.

"This document contains an analysis of the recreated Richard Luby Edition of two contrasting movements, the Adagio and Fuga, from J.S. Bach's Sonata in G Minor for Solo Violin. Dr. Richard Luby was a professor of violin and chamber music at the University of North Carolina at Chapel Hill from 1979 until his unexpected death in 2013. He mentored students who now play with orchestras and teach at universities around the world. He also maintained an international reputation as a teacher and performer, particularly in the area of Baroque performance practice. J.S. Bach's Sei Solo a violino senza Basso Accompagnatare are central to the violin repertoire and were among Luby's favorite pieces to teach and perform. These sonatas and partitas were a regular part of his students' study and he performed the entire cycle twice in Chapel Hill. After his passing, the score with his bowings and fingerings for these pieces was not found. Luby's technical markings for the Adagio and Fuga from the G-Minor Sonata have been reconstructed from a video of a 2012 public performance he gave and from markings from scores of students who studied with him. Analysis of these fingerings and bowings in comparison with Bach's 1720 manuscript and twenty-one published editions of the sonatas and partitas--the bulk of what is available today--shows that the Richard Luby Edition of Bach's Sonatas and Partitas for Solo Violin is unique yet within the bounds of common practice violin playing. His edition emphasizes faithfulness to Bach's original score and long musical phrases."--Abstract from author supplied metadata.

The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).

"The purpose of this paper was to investigate historically informed performance practice as it relates to Johann Sebastian Bach's Sonata for Harpsichord and Flute (BWV 1030) and then determine if those principles would have a valid application in the neo- baroque work, Sonata for Flute and Piano, by Paul Hindemith. The composers' relevant biographies were summarized and their sonatas analyzed and compared. Performance practice parameters were applied to both. A list of principles for performing neo-baroque works concludes the paper"--Document.

Contains "Records in review."