Regarding "Tempo and Tactus in the German Baroque":
This is a book that many of us have been waiting for: one that tackles the frustrating problem of tempo and meter in the Baroque era with scrupulous scholarship, a clear-eyed sense of limits, and the perspective of a practicing musician.
~Raymond Erickson, Early Music America
Julia Dokter is a complete organist: she is a virtuoso, she knows how to make registrations and has something to say.
~Claude Gingras, La Presse
She showed her capacities as a fine scholar: not only was her topic original, but Julia Dokter also proved that she can present the results of her research clearly and convincingly.
~ Jan Smelik, Editor in Chief of Het Orgel
One of the volume’s most convincing essays is Julia R. Dokter’s rhetorical analysis of Sweelinck’s variations on Psalm 36. The variations’ melodic theme could have been drawn from any one of twelve possible origins; relying on musical-rhetorical analysis, Dokter demonstrates that Sweelinck employed Marot’s setting of Psalm 36 (Genevan Psalter ) in its original (French) version, and not a German or Dutch translation. Contrary to current opinion, Sweelinck freely employed musical ideas that assigned semantic meaning to musical figures.
~ Robert Judd, Renaissance Quarterly