'Aloys.- Now continue the same exercise and go through all modes within this octave, just as they follow successively in their natural order. You started with D; thus E, F, G, A and C now follow.
Joseph.- Reveared master, why did you leave out B between A and C? For I know from my learnings in the Literal Arts that B lies between.'

what could be better than the origional book that influenced people from bach to beetoven, with great contrived dialogue to boot?!? the answer, of course, is nothing. great book. get it.

Johannes Gutenberg, possibly the most important man inhistory.Invented the printing press, changed my life. If he werealive today, I would say thank you. Thank you for changing mylife. Myself and my fellow worshippers of you would like to thank you for looking out over us. This book was excellent.

Although the story is not historically correct, but this book is still a joy, perhaps more for adult book lovers than children. The artistry is fabulous, and the pop-ups are quite clever -- my favorite is one depicting a clothesline of drying pages and a pull tab that creates the sound of snoring as Gutenberg sleeps while freshly printed pages hang overhead to dry. Librarians might get a laugh out of the fact that even the copyright and CIP is provided in a pop up. This book is a treasure for any bibliophile who is also a child at heart.

This book is unquestionably one of the finest resources for Bach scholarship that I've come across! I cannot praise this book enough--Charles Sanford Terry would certainly have admired this work. The layout of the texts, with its biblical references, is so very helpful when listening to a cantata. As one who has two complete recording sets of these marvelous works, I can honestly express my gratitude for this book.

This tidy volume is useful for the scholar of post-renaissance poetics, philosophy, or philology as an introduction to one line of thinking on these matters: the German tradition of hermeneutics, from which whole academic disciplines and intellectual approaches (philosophical hermeneutics, deconstruction...) has arisen.

The selections provided give the careful reader a taste of how certain themes such as understanding and interpretation have developed in dialogue with (or in some cases outright imitation of) other conceptions of the same themes. Dilthey's ideas, for example, become much more pregnant with significance when the reader is reminded of Schleiermacher before and Heidegger after. It's striking to me at least how indebted twentieth-century thinkers such as Bakhtin and Wittgenstein are to Dilthey and friends--so these pages are still relevant and contemporary in many ways.

The introduction and bibliographies are also complete and as far as I can tell comprehensive.

Yes, yes. I hope this is helpful.

Julianne Baird's "Introduction to the Art of Singing" (1995) is far more than it appears. It is, of course, an English translation of Agricola's German text (1757), which in turn was a translation of the original Italian text by Tosi (1723) -- a monumental and often amusing work in itself. Agricola made his own observations regarding Tosi's work, and Julianne Baird has truly created an entirely new book by virtue of the observations she makes in her footnotes, which are very extensive. Baird is not only a scholar, but also an accomplished performer and so takes a very thorough approach to this treatise. She and Cambridge University Press are careful to delineate what parts of the text are Tosi, Agricola and Baird. It is an invaluable reference work for the serious student of historical vocal practice.

The Italian concerto is the most accurate copy I've ever seen before of what Bach wrote, no more and no less. There's just Bach, no editor's footnotes and the only commentary from the editor is that some might not be by Bach (Those are a heck of a lot easier to play!) such as the gm Fantasia. The print's a bit on the small side, but not too much, but it's clear and easy to read. Enjoy!

Dr. Schweitzer himself is an excellent interpretor of Bach's music, especially his organ music. His christian belief put him closer to the heart of the great German composer. Everyone who is seriously interested in Bach should read this book which is full of information and insight. To those who not only listen music but alos feel it, the book is will be a spiritual revelation. Shortcoming: in comparsion with German version, some translation is a bit vague or inaccurate.

The title and the alphabetical format of this book seems uninspiring, but actually it is a veritable treasure. It has an excellent article or entry on almost anything you might wonder about Bach, and the format lets you just to look up the issue alphabetically. The appendices also ease the effort-- there is a thematic list of all entries, a BWV list with years, a text list of the first lines of all arias/choruses, first performance dates of cantatas... The tone of the book is scholarly but very readable.

So if you have ever wondered what was the trumpet like in Bach's day, the real meaning of well-tempered, who P.D.Q. Bach is, what did Christian Ludwig of Brandenburg do with the concertos, you need to get this book. Indispensable for anyone who has been bitten by the Bach bug; it will appeal to the starter and the expert alike.

This book was a surprise. Being interested in knowing about JS Bach's devotional life, I expected to read a commentary on Bach's interlinear comments in his copy of the Calov Bible Commentary. Indeed, the book does have that, but it also has, which was a nice surprise, high quality reproductions (photos) of the actual pages in the commentary with Bach's handwriting. Hence, this book becomes a facsimile edition, and the low price is unheard of for a book of this quality (cloth cover, high quality paper, etc). Highly recommended not only for the music scholar, but any lover of Bach's music who wants to know more about what made the man tick.