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xiii Writing this book has been a labor of love: studying, performing, and teaching this music have all contributed significantly to my growth as a musician. The decision to write the book was the result, the natural outcome, of my having taught for many years a course in this subject at the Indiana University Jacobs School of Music—the book is a kind of legacy born of a desire to share my conception with a wider audience . It is only fitting, then, that I acknowledge first the help over the years of my students in the course, who have served as guinea pigs—and still do—and provided me with frequent insights and the platform from which to share and test my ideas. I am most grateful to my editors at Indiana University Press, Raina Polivka and Janice Frisch, who have been so generous with their oversight and their guidance through the postcreative obstacle course. The prompt and courteous assistance of Drs. Martina Rebmann and Roland Schmidt-Hensel of the Berlin Staatsbibliothek, who responded immediately to my request for scanned pages of Bach’s autograph, certainly helped to expedite the editing process. I am indebted to my friends and colleagues, Mauricio Fuks and Joseph Silverstein , who have always been supportive of my work, and to Reinhard Goebel for his perceptive criticism. Perhaps, though, an expression of posthumous gratitude to Bach himself, the consummate master, is in order: he provided us with an incomparable work of art whose careful study has enriched so many generations of musicians. I do hope he approves of my work. Acknowledgments ...


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