Ms. Beverly Scheibert

Member

Biography

Publications since 2000

“Equal Temperament and Johann Sebastian Bach’s Music,” Ad Parnassum 21 (April 2023): 1-31.

Equal Temperament in the Eighteenth Century: The Ear versus Numbers (Turnhout: Brepols, 2023).

Disinformation in Mass Media: Gluck, Piccinni and the Journal de Paris, RMA Monographs (Abingdon, Oxon and New York: Routledge, 2021).

“The 19^th-century piano and finger-strengthening devices,” The Musical Times 162/1956 (Autumn 2021): 21-39.

“A 1760 dream for better performance standards,” The Musical Times 161/1952 (Autumn 2020): 85-99.

“Distinguishing between dotted notes and notes inégales, The Musical Times (Spring 2020): 61-76.

“Marmontel/[Piccinni] on Neapolitan Opera,” Journal of Music Criticism 3 (2019): 1-17.

“Tartini and the Two Forms of Appoggiature,” Eighteenth Century Music 16/1 (2019): 83-86.

“Pascal Boyer: A Pioneer in Journalistic Music Criticism,” Fontes Artis Musicae (July-September 2018): 146-56.

“A Vindication of Ferdinand Hiller,” Journal of Musicological Research 37/2 (2018): 141-65.

“Reichardt’s Review of Handel Concerts in London,” Handel News, The Newsletter of the Friends of the London Handel Festival, 71 (Jan. 2018): 14-19. Reprinted in The Diapason (July 2018) and the SECM Newsletter 32 (Fall 2018).

“Performance conditions, standards and Bach’s chorus,” The Musical Times (Winter 2017): 55-70.

“Gluck and the Prosodic Appoggiatura,” Journal of Singing 74/2 (Nov/Dec 2017): 143-54.

“Zukunftsmusik/Music of the Future: A Moral Question,” Journal of Musicological Research 36/4 (2017): 311-35.

“Quantz and Agricola: A Literary Collaboration,” Acta Musicologica 88 (2016/2): 127-42.

Music Performance Issues 1600-1900 (Hillsdale, NY: Pendragon Press, 2016).

“The appoggiatura breve in Domenico Scarlatti’s Sonate” in The Early Keyboard Sonata in Italy and Beyond, ed. Rohan Stewart-MacDonald (Turnout: Brepols, 2016), Speculum musicae series.

The Complexities of Early Instrumentation: Winds and Brass, Musical Treatises, 3 (Turnhout: Brepols, 2015).

“Fingering and Pedaling in the Bach Era,” The Organ, issue 371 (Spring 2015): 8-17.

“Diderot (Part II) —Temperament and Expressive Intonation,” Music Theory & Analysis 2/1 (2015): 69-93.

“Diderot (Part I) — Authorship and Illusion,” Music Theory & Analysis 1/1&2 (2014): 38-60.

“Notes inégales: a definitive new parameter,” Early Music 42/2 (2014): 273-89.

“The notable significance of C and stroked-C in Bach’s era,” The Musical Times 155/1927 (Summer 2014): 85-96.

“Johann Philipp Kirnberger and the Bach Chorale Settings,” BACH, Journal of the Riemenschneider Bach Institute 45/1 (2014): 34-43.

“Kirnberger and Authorship,” NOTES: Quarterly journal of the Music Library Association 69/4 (June 2013): 688-705.

“The varied reprise in 18th–century instrumental music,” The Musical Times 153/1921 (Winter 2012): 45-61.

“Dilettante and Amateur:  Our Evolving Language,” 1650-1850: Ideas, Æsthetics, and Inquiries in the Early Modern Era 19 (2012): 3-29.

“Numbers and Tempo: 1630-1800,” Performance Practice Review: Vol. 17: No. 1, Article 4 (2012).  Available at :  http://scholarship.claremont.edu/ppr/vol17/iss1/4.

“Johann Philipp Kirnberger versus Friedrich Wilhelm Marpurg:  A Reappraisal,” Dutch Journal of Music Theory 17/2 (2012): 91-108.

“Overdotting in Handel’s Overtures Reconsidered,” Göttinger Händel-Beiträge 14 (2011): 229-252.

“Hummel’s Metronome Marks for Mozart and Beethoven,” The Beethoven Journal 26/2 (2011): 14-17.

“Eighteenth-Century Stringed Keyboard Instruments from a Performance Perspective,” Ad Parnassum 9 (April 2011): 75-100.

“The Bach/Scheibe Controversy:  New Documentation,” BACH, Journal of the Riemenschneider Bach Institute 42/1 (2011): 1- 45.

“The French Time Devices Revisited,” Dutch Journal of Music Theory 15/3 (Nov. 2010): 169-189.

“What Handel’s Casting Reveals About Singers of the Time,” Göttinger Händel-Beiträge 13 (2010): 141-163.

“Maelzel’s Role in Beethoven’s Symphonic Metronome Marks,” The Beethoven Journal 24/1 (Summer 2009): 14-27.

“Glimpses of the American Organ and Its Use, 1820-1850,” The Tracker 53/4 (Fall 2009): 14-22.

“A Solution for Simple (secco) Theater Recitative,” Journal of Singing 65/4 (March/April 2009): 421-430.

“The Tromba and Corno in Bach’s Time,” Ad Parnassum 6 (October 2008): 7-39.

“The Most Indispensable and Most Pleasing Trill,” The Consort. Journal of the Dolmetsch Foundation 64 (Summer 2008): 90-101.

“How Composers Viewed Performers’ Additions,” Early Music 36/1 (Feb. 2008): 95-109.

“Who Wrote a 1769 Book That is Tied to the Paris Opéra?” Recherches sur la musique française classique 31 (2004-2007): 187-197.

“Intonation Standards and Equal Temperament,” Dutch Journal of Music Theory 12/2 (May 2007): 215-227.

Review of Royal music machines: the music, ed. Marieke Morsman and Bob van Wely (Utrecht: Nationaal Museum van Speelklok tot Pierement, n.d.), Early Music 35/1 (2007): 128-129.

“Distinguishing Between Artificial and Natural Vibrato in Premodern Music,” Journal of Singing 63/2 (Nov./Dec. 2006): 161-167.

Colloquy: “Maniera smorfiosa, a Troublesome Ornament,” Journal of the American Musicological Society 59/2. (2006): 459-461.

“Choral Singing Before the Era of Recordings,” The Musical Times, 147, no.1895 (Summer 2006): 77-84.

“Playing Like Chopin,” International Piano, No. 41 (Sep./Oct. 2005): 24-27.

“Bach’s Lament about Leipzig’s Professional Instrumentalists,” BACH, Journal of the Riemenschneider Bach Institute 36/1 (2005): 67-96.

“A Little More Muscle, Please: Playing the Organ Before the Twentieth Century,” The American Organist, 39/9 (2005): 105-108.

“Mystery in Paris, the German Connection, and More: The Bérard-Blanchet Controversy Revisited,” Eighteenth-Century Music 2/1 (2005): 91-112.

“Good Vibrations,” The Strad 116 (March 2005): 44-49.

“Fasch and the Beginning of Modern Artistic Choral Singing,” BACH, Journal of the Riemenschneider Bach Institute 35/1 (2004): 61-86.

“Clarinets in Beethoven’s Day Had Faulty Keys, Reeds on Top,” The Instrumentalist 58 (May 2004): 16-20.

“Fontenelle’s Famous Question and Performance Standards of the Day,” College Music Symposium 43 (2003): 150-60.

“Editorial Decisions for Ornaments in Bach’s Works,” BACH, Journal of the Riemenschneider Bach Institute 33/2 (2002): 1-14.

“Organ Tempo at the Time of J. S. Bach,” The American Organist 36 (2002): 56-60.

“A re-examination of tempos assigned to the Earl of Bute’s machine organ,” Early Music 30/4 (2002): 584-92.

“Open Strings in Eighteenth-Century Music,” American String Teacher 51/2 (2001): 82-86.

“Pedal Technique in Early Music,” The American Organist 34 (Oct. 2000): 82-85.

“Pitch in the Vocal Works of J. S. Bach,” BACH, Journal of the Riemenschneider Bach Institute 31/1 (2000): 74-95.

“Why Most a cappella Music Could Not Have Been Sung Unaccompanied,” Choral Journal 40 (Feb. 2000): 21-27.

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