Marpurg was primarily a contributor to the history of music through his writings. Interestingly, Marpurg was associated with a number of the encyclopedists including Voltaire and D'Alembert. He was also a composer whose works included a number of lieder (songs) and keyboard pieces. Articles written by Marpurg were published in many magazines and journals, including three journals that were written and edited by him. These periodicals included -Der critische Musicus an der Spree, -Historich-kritische Beytrage zur Aufnahme der Musik, and -Kritsche Briefe uber die Tankunst. His critical manner shifted in the 1760s and 1770s as was consistent with contemporary conventions in Germany. Previously, Marpurg was concerned with the effect that the music had upon an audience and how the music conveyed the material or emotion of and in a particular piece. When the shift occurred, he maintained a critical edge that explored the musical composition itself and the composer's relation to the piece. Marpurg's manuals on keyboard performance and thoroughbass were quite didactic but do not demonstrate of progressive foresight. -Abhandlung von der Fuge, his primary treatise on the fugue, gives strong evidence that he was an authority on the fugue, writing this work with authority in an encyclopedic manner (perhaps due to the influence or friendships with Voltaire and D'Alembert). Marpurg was an ardent admirer of J.S. Bach, and the manual on the fugue references numerous works by Bach as the best authority on counterpoint and the fugue. This adds to the historical significance of Marpurg's treatise. ~ Keith Johnson, Rovi