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Barbara Wiermann, “Bach und Palestrina: Neue Quellen aus Johann Sebastian Bachs Notenbibliothek,” BJ (2002): 9–28; Walter Werbeck, “Bach und der Kontrapunkt: Neue Manuskript-Funden,” BJ (2003): 67–96; Christoph Wolff, “Johann Sebastian Bachs Regeln für den fünfstimmigen Satz,” BJ (2004): 87–100; Peter Wollny, “Ein Quellenfund aus Kiew: Unbekannte Kontrapunktstudien von Johann Sebastian und Wilhelm Friedemann Bach,” Bach in Leipzig — Bach und Leipzig: Konferenzbericht Leipzig 2000 , ed. U. Leisinger, LBB 5 (2002): 275–87.
    â€¢ Chapter 9, “Musician and Scholar” (pp. 305–39):
    Bibliographic reference concerning content and context of chapter 9:
    Musik, Kunst und Wissenschaft im Zeitalter J. S. Bachs , ed. U. Leisinger and C. Wolff, LBB 7 (2005), includes contributions on the Latin school of Bach’s time (Peter Lundgreen); on the rector of the St. Thomas School, philologist Johann Matthias Gesner (Ulrich Schindler); on the electricity experiments conducted by Bach’s colleague Johann Heinrich Winckler (Myles W. Jackson); on literary theory in Bach’s time (Hans Joachim Kreutzer); on music theory and the art of the possible (Thomas Christensen); on the concept of nature, style, and art in eighteenth-century aesthetics (Wilhelm Seidel); and on Bach’s empiricism (Hans-Joachim Schulze).
    â€¢ Latin ode, BWV Anh. 20 (p. 314):
    Among the most puzzling lost works of Bach’s are the Latin odes composed for a ceremony at the university in August 1723, during his first year in Leipzig. Therefore, a report about this ceremony written in Latin by an academic with an explicit appreciation of BWV Anh. 20 is all the more important. Bach is mentioned there as “summus artifex,” and of the pieces, it is said that they “fit the occasion so perfectly” that “everyone admired them.”
    Ernst Koch, “Johann Sebastian Bachs Musik als höchste Kunst. Ein unbekannter Brief aus Leipzig vom 9. August 1723,” BJ (2004): 215–20.
    â€¢ New Bach students (pp. 327–31):
    The identification by name of one of the most important Bach copyists (“Anonymous 5”) leads us on the trail of a Bach pupil unknown until now. Kayser, born in 1705 in Cöthen, became a pupil of Bach’s in or before 1720 and continued his instruction in Leipzig, where he simultaneously studied law and apparently was among Bach’s closest assistants, perhaps serving for a time as his personal secretary. Returning to Cöthen, Kayser functioned as a court and government attorney as well as a chamber musician and court organist, and presumably also as organist of St. Agnus’s Lutheran Church in Cöthen, to whose congregation he belonged (as did Bach and his family during his time there). As the possessor of important Bach sources and as teacher of Johann Christoph Oley (1738–1789) and Friedrich Wilhelm Rust (1730–1796), Kayser must be counted as the leading agent in the transmission of Bach’s music in the Anhalt area; he died in 1758.
    The cantor and composer Johann Friedrich Schweinitz (1708–1780) turns out to be another important Bach pupil. He later became music director at the University of Göttingen and in this capacity preceded Johann Nicolaus Forkel, Bach’s first biographer.
    Andrew Talle, “Nürnberg, Darmstadt, Köthen: Neuerkenntnisse zur Bach-Überlieferung in der ersten Hälfte des 18. Jahrhunderts,” BJ (2003): 143–72; Hans-Joachim Schulze, “Johann Friedrich Schweinitz, ‘A Disciple of the Famous Herr Bach in Leipzig,’ ” About Bach , ed. Gregory B. Butler, George B. Stauffer and Mary D. Greer (Chicago, 2008), pp. 81–88.
    â€¢ Repertoire of the Collegium Musicum (p. 355):
    Items from the repertoire of Bach’s regular Collegium Musicum concerts include compositions in a variety of vocal and instrumental genres by J. B. Bach, F.