This study is a comprehensive 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. With its extensive catalogue of the most common slurring patterns based on a study of over 100 concerted vocal works, this book is invaluable both for performers on all baroque instruments, and for scholars with an interest in Bach's style and source studies. It also contributes to our perception of Bach's position in music history: the purpose of music in the Lutheran Germany of Bach's time and its rhetorical power; the close relationship between composer and performer within the context of 'practical' music; and the functions and development of notation. Table of Contents 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.