The William H. Scheide Grant and Prize were established in 1990 by an endowment fund given by William H. Scheide (1914–2014). It honors in perpetuity one of the founding members of the ABS and its first major benefactor.
The William H. Scheide Research Grants, stipends ordinarily ranging from $500 to $2,000, awarded annually, provide support for research projects on Bach or figures in his circle. The funds may be used to defray travel costs, acquire reproductions of primary sources, or for similar purposes. Although preference will be given to applications from Ph.D. candidates, junior faculty, and independent scholars, senior faculty are also encouraged to apply, especially when institutional research support is limited or unavailable. Awards will normally go to citizens or permanent residents of the United States or Canada. Each winner will also receive a one-year membership in the Society.
Applications should include a research proposal of no more than three double-spaced pages, along with a curriculum vitae and a budget, all in English. The committee will favor proposals that include concrete statements of (1) the materials to be consulted (specific scores, books, instruments, etc.) if research in libraries or archives is proposed, and why it is necessary to examine them on-site; (2) a clear itinerary if travel is involved; and (3) the nature of ultimate outcome of the research (book, article, edition, etc.).
Grants will be awarded for research to be completed during 2017. To apply, please send a description of your research project and a budget by December 31, 2016, to Andrew Talley at talle (at) jhu.edu. Grants will be awarded in January 2017.
|2017||Matthew Hall to assist the completion of his dissertation, which explores the early manuscripts of Johann Sebastian Bach’s Leipzig apprentices as a window into Bach’s compositional pedagogy.|
|2016||Michael Eisenberg for his research on “Virtuosity in Transmission: Engraving in the Opus of J. S. Bach and His Circle.”|
|2015||Daniel Boomhower for his work on the transmission of Bach’s music in the late 18th and early 19th centuries; and Julia Dokter for a study on “Codified Tempo Changes in German Baroque Organ Music.”|
|2014||Rebecca Cypess for a study of the music in Sara Levy’s salon; and Evan P. Cortens for his work on “Networks of Musical Exchange in Eighteenth-Century Germany.”|
|2013||Moira Hill for a study of the parody and pasticcio techniques in Carl Philipp Emanuel Bach’s passions; and Nik Taylor for research on Georg Philipp Telemann’s printed church cantatas.|
|2011||Mark Peters, research on the Magnificat cantatas of Bach and his contemporaries; and Markus Rathey, research on the musical sources and cultural contexts for Bach’s Christmas Oratorio, BWV 248.|
|2009||No grant awarded.|
|2007||John Koster, research on a harpsichord at Colonial Williamsburg; and Russell Stinson, research at the Arnold Schoenberg Center in Vienna|
|2005||James A. Brokaw, II and Russell T. Stinson, “Brahms reading Bach: Brahms’ Annotations to the Organ and Harpsichord Works in His Library”|
|2003||Tanya Kevorkian, “Religious Practices and Society in Leipzig, 1650–1750”; Jason Grant, “Concert oratorios by Georg Philipp Telemann”; Raymond Erickson, “Source-Critical Studies in American Bach Sources”; Russell Stinson, “The Reception of Bach’s Organ Works.”|
|2000||David Schulenberg, “A Study of the Development of Bach’s Weimar Compositional Style in the Context of Repertory Associated with Dresden.”|
|1998||Stephen Crist, “Originality and Convention in the Arias of J. S. Bach.”|
|1996||Melvin Unger, “The ‘Theologia Crucis’ in J. S. Bach’s Cantatas.”|
|1992||Russell Stinson, “Bach the Teacher: A Study of his Pupils and Pedagogical Methods.”|
The William H. Scheide Prize, a sum of $1,000 to be awarded biennially, honors a publication of exceptional merit on Bach or figures in his circle by a scholar in the early stages of his or her career (normally no more than ten years after the Ph.D.) who is professionally active in North America. Eligible publications include books, articles, or editions that have appeared in the previous two calendar years. Nominations, which may be submitted by any member of the Society, should include the name of the author along with a complete bibliographic citation. Each winner will also receive a two-year membership in the Society.
The Prize will be awarded in even-numbered years. Nominations are due by March 1 for works published in the previous two calendar years and should be sent to Andrew Talley at talle (at) jhu.edu. Self-nominations are welcome.
Carolyn Carrier-McClimon. “Hearing the ‘Töne eines Passionsliedes’ in J. S. Bach’s Christmas Oratorio: The Nineteenth-Century Critical Reception of BWV 248.” Bach: Journal of the Riemenschneider Bach Institute 45, no. 2 (2014).
Bettina Varwig. “Beware the Lamb: Staging Bach’s Passions.” Twentieth-Century Music 11, no. 2 (2014): 245–74.
|2014||No prize awarded.|
|2012||Jason Grant. “Die Herkunft des Chors ‘Triumph! Triumph! Des Herrn Gesalbter sieget’ aus dem Oratorium Die Auferstehung und Himmelfahrt Jesu von C. P. E. Bach.” Bach-Jahrbuch 97 (2011): 273–86.|
|2010||Steven Zohn. Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works. Oxford University Press, 2008.|
|2008||Tanya Kevorkian. Baroque Piety: Religion, Society, and Music in Leipzig, 1650–1750. Ashgate, 2007.|
Mark Peters. “A Reconsideration of Bach's Role as Text Redactor in the Ziegler Cantatas.” Bach 36 (2005).
Andrew Talle. “Nürnberg, Darmstadt, Köthen — Neuerkenntnisse zur Bach-Überlieferung in der ersten Hälfte des 18. Jahrhunderts.” Bach-Jahrbuch 89 (2003).
|2004||Matthew Dirst. “Doing missionary work: Dwight’s Journal of Music and the American Bach awakening.” In Stephen A. Crist, ed., Bach Perspectives 5.|
|2002||Paul M. Walker. Theories of fugue from the age of Josquin to the age of Bach. University of Rochester Press, 2000.|
|2000||Daniel R. Melamed and Reginald L. Sanders. “Zum Text und Kontext der ‘Keiser’ Markuspassion.” Bach-Jahrbuch 85 (1999): 35–50.|
|1998||Peter Wollny. “Neue Bach-Funde.” Bach-Jahrbuch 83 (1997): 7 50.|
|1996||Michael Marissen. The Social and Religious Designs of J. S. Bach’s Brandenburg Concertos. Princeton University Press, 1995.|
|1994||Jeanne Swack. “On the Origins of the ‘Sonate auf Concertenart.’” Journal of the American Musicological Society 46 (1993): 369–414.|
|1992||John Butt. Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach. Cambridge University Press, 1990.|