Research Grants and Prizes

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.

William H. Scheide Research Grants

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 2018. To apply, please send a description of your research project and a budget by December 31, 2017, to Andrew Talle at atalle (at) Grants will be awarded in January 2018.

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.”

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 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 Talle at atalle (at) Self-nominations are welcome.

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: 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.
2006 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.