Most articles written about performance practice deal with relatively small areas (trills, over dotting, etc. ) placing emphasis on citing original sources or collating several original sources in order to support a given position.

There is not sufficient information in these articles to deal with all aspects of Baroque style. This text was built on the premise that as many conclusions as possible should be drawn from the sources themselves.

Leaps to conclusions about other aspects of style insufficiently documented in sources are made on the basis of the author's own experience as performer. There are different conclusions that one can reach, as the area is large and some aspects of style find the various sources in disagreement(e.

g. , time signatures) or are simply not discussed.

Most of the source disagreements stem from national differences in style. This text which includes regular assignments may be used as main material for a course on the performance of the music of J.

S. Bach or for a course on Baroque performance practice in general.

-From the introduction"A man with Newman's keen intellect and rich performance experiences can be expected to have some valuable observations to impart. He does live his expectation and we have reason to appland.

. " -Frederick Neumann, The American Organist"Here is a very thorough handbook for the performance of Bach's music.

Very concise and clear in its presentation of problems and their solution with profuse musical examples throughout. " -The Harpischard Center Newslettert"This is an intriguing summation of, and position statement on, current trends in historical performance practice by one of its leading American practitioners.

It should make instructive and enjoyable reading for everyone interested in the historical revival in music, especially for those most concerned with the keyboard literature. " -The American Recorde.