What We Do
William H. Scheide Prize
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 their 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 recipient will also receive a one-year membership in the Society.
The Prize is awarded in even-numbered years. Nominations are due by March 31 for works published in the previous two calendar years and should be sent to the ABS Vice-President at vicepresident@americanbachsociety.org. Self-nominations are welcome. The prize-winner is announced at the Society’s biennial meeting.
Previous winners:
2024
Thomas A. Cressy. “Baroque Pop and Psychedelia: Bachian Pastness, Prestige, and Hybridity” (BACH, 54/1, 2023).
2021
Dana Plank. “From the Concert Hall to the Console: Three 8-Bit Translations of the Toccata and Fugue in D Minor” (BACH, 50/1, 2019: 32–61).
Christopher Brody. “Teaching Bach’s Binary Forms” (BACH 49/2, 2018: 281–310).
2018
Moira Leanne Hill. “Der Sänger Johann Andreas Hoffmann als Notenkopist C. P. E. Bachs.” Bach-Jahrbuch 102 (2016).
2016
Carolyn Carrier-McClimon. “Hearing the ‘Töne eines Passionsliedes’ in J. S. Bach’s Christmas Oratorio: The Nineteenth-Century Critical Reception of BWV 248.” (BACH 45/ 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.
2006
Mark Peters. “A Reconsideration of Bach's Role as Text Redactor in the
Ziegler Cantatas” BACH 36 (2005), 25-66.
Andrew Talle. “Nürnberg, Darmstadt, Köthen — Neuerkenntnisse zur Bach-
Überlieferung in der ersten Hälfte des 18. Jahrhunderts” Bach-Jahrbuch 89
(2003), 143-172.
2004
Matthew Dirst. “Doing missionary work: Dwight’s Journal of Music and the
American Bach awakening.” In Stephen A. Crist, ed., Bach Perspectives 5, 15-35.
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.