Dedication

pp v-vi

Contents

pp vii-vii

Lists of Figures, Tables, and Music Examples

pp viii-ix

Acknowledgments

pp x-x

Foreword by Hans Davidsson

pp xi-xiv

Introduction

pp 1-10

Part One - Source Studies

pp 11-12

Prelude - Organology, Reception History, and Reconstruction

pp 13-16

1 - The Historical Pedal Clavichord

pp 17-31

2 - J. S. Bach’s Trio Sonatas: A Reception History of a Rumor

pp 32-51

3 - Reconstructing the Gerstenberg Pedal Clavichord

pp 52-68

4 - J. S. Bach and the Clavichord: A Reception History of a Technique

pp 69-88

Part Two - Performance Practice Studies

pp 89-90

Prelude - Tacit Knowledge and Dialectical Process

pp 91-94

5 - Performance Practice at the Pedal Clavichord

pp 95-113

6 - Musica Poetica and Figural Notation

pp 114-128

7 - J. S. Bach’s Passacaglia in C Minor, BWV 582: A Case Study

pp 129-148

8 - The Pedal Clavichord and the Organ in Dialogue

pp 149-160

Appendix - Friederich Conrad Griepenkerl’s Preface to J. S. Bach’s Chromatic Fantasy and Fugue (1819)

pp 161-171

Notes

pp 172-186

Bibliography

pp 187-198

Index

pp 199-205

Eastman Studies in Music

pp 206-209