After writing Baroque Music for W. W. Norton, my remaining questions include those that concern the history of the ritornello procedure, concerto-style orchestral accompaniment of homophonic choral writing, the “church aria” family of musical forms, the relation of the New Lutheran Cantata to the contemporaneous Catholic, Latin solo motet, relations among the semi-opera genres of Spain, France, and England, the source of the distinctive style features of the Spanish villancico, the notation of Spanish solo song, music for autos sacramentales, the disappearance of violins from Spain in the seventeenth century, the roles of Jewish and marrano musicians, the exactly definition of Baroque “tonality,” and current caution over the application of rhetorical terms.