This is an assessment of J. S. Bach's use of articulation marks (i.e. slurs and dots) in the large body of primary sources. Dr Butt analyses the role of such markings within the compositional process, how they relate to the norms of articulation of the period, and how they might assist us in a deeper understanding and evaluation of Bach's style.

List of plates; Preface; List of abbreviations; Introduction; Part I. Background to Articulation in the Performance Practice of Bach's Era: 1. The primacy of singing; 2. Articulation marks in string playing; 3. Articulation marks in wind playing; 4. Articulation marks in keyboard playing; 5. Articulation marks and rhythmic inequality; Part II. The Principles of Bach's Notated Articulation: A Study of the Scores and Parts of the Concerted Vocal Works: 6. Articulation marks within the compositional and notational procedure; 7. Principal articulation patterns in the instrumental parts of vocal works; 8. Fundamentals of Bach's notated articulation; Part III. Bach's Refined Articulation - The Instrumental Works: 9. Bach's role in the preparation of printed sources 10. Articulation marks in fair copies of works for instrumental ensemble; 11. Bach's keyboard articulation and the development of the keyboard idiom; 12. Bach and 'modern' articulation: slurs as 'phrase marks'; 13. Articulation marks in analysis and interpretation; Conclusion; Appendixes; Notes; References; Index of BMV works; Index of names.