DAVID LOUIS SCHULENBERG--curriculum vitae
address:
Department of Music
Wagner College
One Campus Road
Staten Island, NY 10301
tel.: (718) 420-4288
fax: (718) 390-3392
email: dschulen AT wagner.edu
home page: http://www.wagner.edu/faculty/dschulenberg/index.html
Professional positions
Wagner College, Professor and Chair, Music Department (2001-)
University of Notre Dame, Visiting Assistant Professor (2000-2001)
University of South Dakota, Visiting Assistant Professor (summer 2000) and Research Associate (1999-2001)
University of North Carolina at Chapel Hill, Assistant Professor (1992-99)
Duke University, Visiting Assistant Professor (part-time, 1995-97, to direct the Duke Collegium Musicum)
University of Texas at Austin, Visiting Lecturer (Spring 1990)
Columbia University, Assistant Professor (1987-89)
Baruch College of the City University of New York, Visiting Assistant Professor (Spring 1986)
University of Virginia, Visiting Assistant Professor (Fall 1983)
State University of New York at Stony Brook, Lecturer (Fall 1982)
Professional and community service, grants, and fellowships
Editorial Board, Early Keyboard Journal (2003-)
Board of directors, Boston Clavichord Society (2002-)
William Scheide Research Grant Award Committee, American Bach Society (2002-3)
Invitation Fellow, Japan Society for the Promotion of Science (January 2002)
Program Committee, Society for Seventeenth-Century Music (2002 meeting)
William Scheide Research Grant, American Bach Society (2000)
Council Member, American Musicological Society (1998-99)
Editorial Board, Journal of the American Musicological Society (1996-99)
National Endowment for the Humanities, editing grant (Summer 1987)
American Council of Learned Societies, senior research fellowship (1986-87)
Andrew Mellon Post-Doctoral Fellowship, at New York University (1984-85)
Manuscript and grant proposal reader for Harvard University Press, Yale University Press, University of California Press, Oxford University Press, Routledge, National Endowment for the Humanities, Music and Letters, Journal of the American Musicological Society
Education
State University of New York at Stony Brook, 1978-82. Ph.D. in Music History, 1982; dissertation: "The Instrumental Music of Carl Philipp Emanuel Bach"
Ohio State University, 1977-78. Doctoral program in Music History
Stanford University, 1976-77. M.A. in Music, 1977
Harvard College, 1972-76. B.A. cum laude in Music, 1976
Study of harpsichord: John Gibbons (Boston, 1973-6), Martin Pearlman (Cambridge, Mass., 1974-6), Laurette Goldberg (Berkeley, 1977)
Study of early music: Baroque Performance Institute, Oberlin, Ohio (Summer 1974 and 1975)
Study of piano: Stanley Hummel (Albany, New York, 1963-72)
Teaching and institutional service
Courses for non-music majors: music appreciation; music and gender; Bach and Handel; symphony; opera; keyboard music; Beethoven
Courses for music majors: historical performance practice; counterpoint; period surveys: Renaissance-Baroque, Classical-Romantic, 20th Century; chamber music
Graduate courses: music bibliography; 18th-century music; string repertory 1600-1950; advanced musicianship. Seminars: tonality in Baroque music; meaning in the Bach cantatas; trends in the interpretation of 17th- and 18th-century vocal music; genre in Bach instrumental works
Harpsichord, figured bass, chamber music; collegium musicum
Music Department chair, Library Committee, Department Chairs Council, Senior Council, Teacher Education Policy Unit (Wagner College)
Committees overseeing undergraduate and graduate studies; dissertation committees; music library committee; strategic planning committee; scholarship committee; maintenance and tuning of early keyboard instruments; UNC Faculty Council
Publications
BOOKS, RECORDINGS, AND EDITED VOLUMES
Music of the Baroque and Music of the Baroque: An Anthology of Scores, second edition (New York: Oxford University Press, 2008; first edition, 2001). Click here for contents and links to ordering information and discography.
The Keyboard Music of J.S. Bach, second, revised edition (Routledge, 2006); first edition (Schirmer Books, 1992), xv + 475 pp.; revised edition translated into Japanese by Nozomi Sato and Sachiko Kimura (Tokyo: Shogakukan, 2001), 726 pp. Click here to order a copy.
Carl Philipp Emanuel Bach: The Collected Works, vol. I/3, keyboard sonatas W. 63/1-12, 53/1-6, and 54/1-6 (Packard Humanities Institute, 2005); II/2, keyboard concertos W. 4–6, in preparation. Click here for further information or to order.
Johann Joachim Quantz: Six Flute Quartets, CD recording: harpsichordist, Hungaroton HCD 32286 (2004). Click here for further information or to order a copy.
Johann Joachim Quantz: Flute Sonatas, CD recording: harpsichord and fortepiano in seven solo and trio sonatas on copies of period instruments, Naxos 8.555064 (HNH International, 2003). Click here for contents and ordering information.
Bach Perspectives, Volume 4: The Music of J. S. Bach: Analysis and Interpretiation, ed. David Schulenberg (Lincoln: University of Nebraska Press, 1999), x + 208 pp. Click here for contents and ordering information .
Carl Philipp Emanuel Bach: Keyboard Sonatas, 1744-1747 (Carl Philipp Emanuel Bach Edition, I/18) (Oxford University Press, 1995), xxi + 142 pp.
The Instrumental Music of Carl Philipp Emanuel Bach (revision of dissertation; UMI Research Press, 1984), xi + 192 pp. You can order this book through UMI's Books on Demand program (order no. WB1-2070340-85).
ARTICLES AND CHAPTERS IN BOOKS
“Fugues, Form, and Fingering: Sonata Style in Bach's Preludes and Fugues,” forthcoming in Variations on the Canon: Essays in Musical Interpretation from Bach to Boulez in Honour of Charles Rosen on his Eightieth Birthday (University of Rochester Press). Click here to order the volume.
“Crossing the Rhine With Froberger: Suites, Symbols, and Seventeenth-Century Musical Autobiography,” forthcoming in Fiori musicali: Liber amicorum Alexander Silbiger (Harmonie Park Press)
“Recent Editions and Recordings of Froberger and Other Seventeenth-Century Composers,” review article, Journal of Seventeenth-Century Music (forthcoming)
“The Sonate auf Concertenart: A Postmodern Invention?,” in Bach Perspectives, Volume 7 (University of Illinois Press, 2008), 55–96. Click here to order the volume.
“Why We Know So Little About Bach's Early Works: A Case Study (Two Keyboard Fugues),” in Music and Its Questions: Essays in Honor of Peter Williams (Organ Historical Society Press, 2007). Click here to order the volume.
“C.P.E. Bach in Zerbst: The Six Sonatas of Fall 1758: With Contributions on the Early Biography and Compositions of Carl Fasch,” in Johann Friedrich Fasch als Instrumentalkomponist: Bericht über die Internationale Wissenschaftliche Konferenz am 8. und 9. April 2005 im Rahmen der 9. Internationalen Fasch-Festtage in Zerbst (Beeskow: Ortus Musikverlag, 2007), 131–152
“The Sonate auf Concertenart: A Postmodern Invention?,” in Bach Perspectives, Volume 7 (University of Illinois Press, 2008), 55–96. Click here to order the volume.
"Seventeenth-Century Keyboard Music in Dutch- and German-Speaking Europe," chapter 9 in The World of Baroque Music, ed. George Stauffer (Bloomington: Indiana University Press, 2006), 185-212. Click here to order the volume.
"Editing the Keyboard Music of Bull and Scheidemann," review-essay, Journal of Seventeenth-Century Music 11/1 (2005), online at http://sscm-jscm.press.uiuc.edu/jscm/v11/no1/schulenberg.html
"'Toward the Most Elegant Taste': Developments in Keyboard Accompaniment from J.S. to C.P.E. Bach," in The Keyboard in Baroque Europe: Keyboard Studies of the 17th and 18th Centuries, ed. Christopher Hogwood (Cambridge University Press, 2003), 157-68. Click here for contents, ordering information, and a view of the cover.
"Recent Bach Studies," review article, Journal of Musicological Research 22 (2003): 387-402.
"When Did the Clavichord Become C.P.E. Bach's Favourite Instrument? An Inquiry into Expression, Style, and Medium in Eighteenth-Century Music," in De clavicordio IV: Proceedings of the IV International Clavichord Symposium, Magnano, 8-11 September 1999, ed. Bernard Brauchli et al. (Magnano: Musica Antica a Magnano, 2000), pp. 37-53; French translation by Jean-Claude Teboul as “Quand le clavicorde est-il devenu l'instrument favori de C. P. E. Bach? Quelques questions sur la pratique du clavier dans le cercle de Bach,” in Ostinato rigore 23 (2004): 139-57. Click here to read online.
"Versions of Bach: Performing Practice in the Keyboard Works," in Bach Perspectives, Volume 4 (Lincoln: University of Nebraska Press, 1999), pp. 111-35. Click here for contents and ordering information.
"Tempo Relationships in the Prelude of Bach's Sixth English Suite: A Performance-Studies Approach," Journal of Musicological Research 18 (1999): 139-60
"Some Problems of Text, Attribution, and Performance in Early Italian Baroque Keyboard Music," Journal of Seventeenth-Century Music 4/1 (1998), online at http://sscm-jscm.press.uiuc.edu/jscm/v4/no1/schulenberg.html.
"'Musical Allegory' Reconsidered: Representation and Imagination in the Baroque," Journal of Musicology 13 (1995): 203-39 (read at AMS convention, Montreal, 1993)
"Composition and Improvisation in the School of J. S. Bach," in Bach Perspectives, vol. 1 (University of Nebraska Press, 1995), 1-42 (read at AMS convention, Chicago, 1991). Click here to order the volume .
"Carl Philipp Emanuel Bach," in Eighteenth-Century Keyboard Music, ed. Robert L. Marshall (Schirmer Books, 1994; reprinted, Routledge, 2003), 191-229. Click here to order the volume.
"The Keyboard Works of William Byrd: Some Questions of Attribution, Chronology, and Style," Musica Disciplina 47 (1993): 99-121 (read Sept. 1991 at New England Chapter AMS meeting)
"La toccata del primo barocco e l'avvento della tonalità," Rivista italiana di musicologia 27 (1992): 103-23
"C.P.E. Bach and Handel: A Son of Bach Confronts Music History and Criticism," BACH Journal 23/2 (Fall/Winter, 1992): 5-30 (read at 1991 meeting of the American Handel Society)
"Expression and Rhetoric in the Harpsichord Works of J.S. Bach," in Johann Sebastian: A Tercentenary Celebration (Greenwood Press, 1992), 95-109 (read at AMS convention, Vancouver, 1985).
"Expression and Authenticity in the Harpsichord Works of J.S. Bach," Journal of Musicology 8 (1990): 449-76
"Performing C.P.E. Bach: Some Open Questions," Early Music 16 (1988): 542-51
"C.P.E. Bach in the 1740s: The Growth of a Style," in C.P.E. Bach Studies, ed. Stephen L. Clark (Oxford University Press, 1988), 217-31
"Modes, Prolongations, and Analysis," Journal of Musicology 4 (1986): 303-29
"Composition Before Rameau: Harmony, Figured Bass, and Style in the Baroque," College Music Symposium 24/2 (Fall 1984): 130-48
"Composition as Variation: Inquiries into the Compositional Procedures of the Bach Circle of Composers," Current Musicology 33 (1982): 57-87
REVIEWS, NOTES, AND OTHER PUBLICATIONS
Review of Giulia Nuti, The Performance of Italian Basso Continuo: Style in Keyboard Accompaniment in the Seventeenth and Eighteenth Centuries, forthcoming in Music & Letters
Review of Pieter Dirksen, Heinrich Scheidemann's Keyboard Music, forthcoming in Notes
Review of The Cambridge History of Seventeenth-Century Music (edited by Tim Carter and John Butt), in Music and Letters 88 (2007): 484–7
Entries on C.P.E. Bach, Concerto, and other topics, in The Harpsichord and Clavichord: An Encyclopedia, edited by Igor Kipnis (New York: Routledge, 2007). Click here to order
“Autograph Manuscript by Froberger Emerges, Only to Disappear Again” and “Yearsley Joined by Sykes in Spring Clavichord Recital,” in Tangents: The Bulletin of the Boston Clavichord Society, no. 22 (spring 2007), 1 and 6; 3
Letter, “Academic Input,” Early Music America 13/1 (spring 2007): 3
Entries on C.P.E. Bach, Concerto, and other topics, in The Harpsichord and Clavichord: An Encyclopedia, edited by Igor Kipnis (New York: Routledge, 2007
“Earliest Clavichord Piece Performed,” Tangents, no. 21 (fall 2006): 1
"C.P.E. Bach: The Complete Works" and "Andrus Madsen at Friends Meeting House, Cambridge," Tangents: The Bulletin of the Boston Clavichord Society, no. 20 (spring 2006): 1-2 and 4
"Clavichord Symposium at the 2005 Boston Early Music Festival," Tangents: The Bulletin of the Boston Clavichord Society, no. 19 (fall 2005): 3
Review of C.P.E. Bach: Matthäus-Passion 1769 (CD recording), Amsterdam Baroque Orchestra and Choir, directed by Ton Koopman, Eighteenth-Century Music 2/1 (2005): 167-70
Continuo realizations for Johann Joachim Quantz: Six Quartets for Flute, Violin, Viola, and Basso continuo, ed. Mary Oleskiewicz (Ann Arbor: Steglein Publishing, 2004)
Review of W. Dean Sutcliffe, The Keyboard Sonatas of Domenico Scarlatti, in Early Keyboard Journal 22 (2004): 100-104
"Lebedinsky Plays Iberian Program," The Boston Clavichord Society Newsletter, no. 15 (fall 2003): 6
Review of The Oxford Companion to Music, in Music and Letters 84 (2003): 644-6
"Comments on Kirkpatrick," The Boston Clavichord Society Newsletter, no. 13 (Fall, 2002): 3
Review of Neue Bach-Ausgabe, vols. V/9.1 (toccatas), V/9.2 (keyboard works), and V/11 (concerto transcriptions), Journal of the American Musicological Society 55 (2002): 353-65
Review of José de Torres's Treatise of 1736: General Rules for Accompanying on the Organ, Harpsichord, and the Harp, translated by Paul Murphy, in Music Theory Spectrum 24/1 (Spring 2002): 154-8
"Performer's View" column, Newsletter of the American Bach Society (Spring 2002), 3, 8-9
Review of Christoph Wolff, Johann Sebastian Bach: The Learned Musician, and Malcolm Boyd, Bach (3d ed.), MLA Notes 58 (2001-2): 59-63
Continuo realizations for Johann Joachim Quantz: Seven Trio Sonatas, ed. Mary Oleskiewicz, Recent Researches in Music of the Baroque Era, vol. 111 (Middleton, Wis.: A-R Editions, 2001)
"Ornamentation: German Baroque," New Grove Dictionary of Music and Musicians, second edition (London: Macmillan, 2001), vol. 18, pp. 726-33, 745-6
Review of Joel Lester, Bach's Works for Solo Violin: Style, Structure, Performance, in Music Library Association Notes 57 (2000-1): 127-31
"Conferences at America's Shrine to Music Museum," Early Music Review 62 (July 2000): 8-10
Oxford Composer Companions: J. S. Bach, ed. Malcolm Boyd (Oxford University Press, 1999): entries on Art of Fugue; C.P.E., J.C., and W.F. Bach; clavier; Clavierbüchlein; continuo; English Suites; French Suites; toccata; Cantatas 4, 12, 31, 56, 82, 106, 140, et al.
"European Art Music," in The Garland Encyclopedia of World Music, vol. 8: Europe, ed. Tim Rice et al. (Garland Publishing, 1999), pp. 68-87
Five bibliographic review articles in Reader's Guide to Music, ed. Murray Steib (Chicago: Fitzroy Dearborn Publishers, 1999): C.P.E. Bach, J.C. Bach, Baroque Keyboard Music, Continuo, Renaissance Keyboard Music
"From Renaissance to Baroque: NEMA Conference," report on 1999 National Early Music Association conference at York (U.K.), in Early Music Review 53 (September 1999): 8-9
Review of Neue Bach-Ausgabe, vols. V/6.2 (Well-Tempered Clavier II) and VIII/2.1-2 (Art of Fugue), MLA Notes 55 (1998-9): 755-60
Review of Pieter Dirksen, The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance, and Influence, MLA Notes 55 (1998-9): 95-7
Program note for J.S. Bach: The Complete Harpsichord Concertos Christopher Hogwood, dir., Oiseau-Lyre 460 031-2, 1998
"Choosing an Edition," Piano Magazine 6/3 (May-June 1998): 25-7 (on editions of J.S. Bach's keyboard music)
Review of The Practice of Performance: Studies in Musical Interpretation, ed. John Rink, MLA Notes 53 (1996-7): 1137-40
Program note for J.S. Bach Harpsichord Concertos , vol. 2, Christopher Hogwood, dir., Oiseau-Lyre 448 178-2, 1997 (recordings of BWV 1042, 1052, 1054, and 1056)
Commentary on Channan Willner, "More on Handel and the Hemiola," Music Theory Online 2.5 (July 1996)
Review of Peter Schleuning, Johann Sebastian Bachs "Kunst der Fuge": Ideologien--Entstehung--Analyse, in MLA Notes 52 (1995-6): 460-1
Review of John Butt, Music Education and the Art of Performance in the German Baroque, in Performance Practice Review 8 (1995): 171-6
Review of A Bach Tribute: Essays in Honor of William H. Scheide, ed. Paul Brainard and Ray Robinson, in MLA Notes 52 (1995-6): 88-90
Review of Keyboard Music from the Andreas Bach Book and the Moeller Manuscript, ed. Robert Hill, in Bach Perspectives, vol. 1 (University of Nebraska Press, 1995), 205-14
Review of Hans Heinrich Eggebrecht, J.S. Bach's The Art of Fugue, trans. Jeffrey L. Prater, and three other works, MLA Notes 51 (1994-5): 1317-21 and 1457-8
Review of Paul Badura-Skoda, Interpreting Bach at the Keyboard, Music and Letters 75 (1994): 605-9
Program note for The Young Beethoven, Igor Kipnis, fortepiano, Epiphany Records EP-1, 1994 (recordings of opp. 13, 27/2, 34, and other works)
Review of Eric Chafe, Tonal Allegory in the Vocal Music of J.S. Bach, in Historical Performance 5 (1992): 104-7
Continuo realization for Anonym (J.S. Bach?): Sonate für Violine und Basso continuo A-dur BWV Anh. II 153, ed. Russell Stinson (Breitkopf und Härtel, 1991)
Review of Authenticity and Early Music, ed. Nicholas Kenyon, in Current Musicology 48 (1991): 78-87
Program note for Charlotte Mattax, Harpsichord: Johann Sebastian Bach, Koch International Classics 3-7046-2 (1991) (recordings of BWV 828, 910, 912, and 964)
Review of The Collected Works for Solo Keyboard by Carl Philipp Emanuel Bach 1714-1788, ed. Darrell Berg, in Journal of the AMS 40 (1987): 105-12
Letters in New York Review of Books (October 25, 1990), Scientific American (August 1989)
Papers and presentations
“Crossing the Rhine With Froberger II: His Programmatic Keyboard Pieces in the Light of Seventeenth- and Eighteenth-Century Aesthetics,” paper read at national convention of the American Musicological Society, Los Angeles, Calif. (Nov. 5, 2006)
“Fugues and Fingering: Scales and Other Technical Devices in Bach's Contrapuntal Works,” paper read at New England Chapter meeting of the American Musicological Society, Providence College, Providence, R.I. (Sept. 30, 2006)
"Crossing the Rhine With Froberger I: The Significance of Recent Manuscript Discoveries," Society for Seventeenth-Century Music, annual meeting, Toronto, Ont. (April 23, 2006)
"Why We Know So Little About Bach's Early Works: Style, Chronology, and Attribution in Two Keyboard Fugues," Organ Historical Society Archives Symposium, New Brunswick, N.J. (May 27, 2005)
"C. P. E. Bach's Zerbst Sonatas: Six Transitional Works In Their Historical and Biographical Context," Ninth International Fasch Festival, Zerbst (Germany) (Apr. 7, 2005, in absentia)
"The Last Bach-Family Copper-Engraved Print: C.P.E. Bach's Probestücke," International Conference: The Composers and Compositions of the Berlin Sing-Akademie, Rhodes College, Memphis, Tenn. (Nov. 6, 2003); and American Musicological Society, national convention, Houston, Tx. (Nov. 15, 2003)
"Printing the Probestücke: C.P.E. Bach's Revisions Before and After Publication," Boston Clavichord Society Symposium (Museum of Fine Arts Boston, June 11, 2003)
"Telemann's St. Matthew Passion of 1746 (TWV 5:31)," preconcert lecture, Church of St. Luke in the Fields, New York (April 1, 2003)
“The Bach Keyboard Player's Repertoire” and “Issues in Teaching Bach Performance Today,” California Association of Professional Music Teachers annual conference (San Mateo, Feb. 15, 2003)
"Performing Bach's Musical Offering: Questions for the Keyboard Player," Musicological Society of Japan (Keio University, Hiyoshi, Jan. 12, 2002)
"Concerto and Sonata in the Music of Johann Sebastian Bach and His Contemporaries: Ritornello Form and the Definition of Genre" (Tokyo National University of Fine Arts and Music, Geidai, Jan. 8, 2002)
"The Instrument and Its Repertory: The Ridolfi Harpsichord and Seventeenth-Century Italian, Iberian, and German Keyboard Music," paper and concert, Society for Seventeenth-Century Music (Vermillion, SD), Apr. 27-8, 2000
"The Sonate auf Concertenart: A Modern Invention?," read at American Bach Society, biannual meeting (New Haven, April 25, 1998), and American Musicological Society, annual convention (Boston, Oct. 30, 1998)
"Partes feminarum: Gender Representation in Baroque Music," read at Feminist Theory and Music IV (Charlottesville, VA, June 6, 1997)
"Composition and Improvisation in the Bach Circle," lecture-demonstration, Festival International de Clavecin Bach (Montréal, May 3, 1997)
Panelist, Byrd Performance Seminar, Boston Early Music Festival (June 19, 1993)
Some recent performances
Harpsichord recital: works by J.S. and C.P.E. Bach, Temple University, Philadelphia, Pa. (Oct. 12, 2006), and University of North Carolina at Greensboro (Jan. 30, 2007)
Opening concert, 27th Symposium on Musical Instrument Building, Stiftung Kloster Michaelstein Musikinstitut für Aufführungspraxis, Michaelstein, Germany (Oct. 6, 2006)
Harpsichord recital: works by Byrd, Froberger, D. Scarlatti, Betsy Jolas, and David Schulenberg, Providence College, Providence, R.I. (October 22, 2005)
"Sonatas for Clavichord and Flute," Boston Early Music Festival (June 17, 2005), preview broadcast on WGBH Boston (May 31, 2005), webcast at WGBH's "Command Performances"
"Music Mainly by C.P.E. Bach," clavichord recital, Boston Clavichord Society series, Cambridge, Mass. (Oct. 24, 2004)
J.S. Bach: Goldberg Variations, lecture-recital, Rutgers University (Sept. 17, 2003), Wagner College (Sept. 30, 2003)
Harpsichordist, modern premiere of the Quantz Flute Quartets, and other works, 2003 Boston Early Music Festival (June 12, 2003)
Harpsichordist, lecture-concert with Mary Oleskiewicz, baroque flute (Keio University, Hiyoshi, Japan, Jan. 16, 2002)
Harpsichordist, performance session, Bach Symposium: "The World and Music of J. S. Bach," Great Performers at Lincoln Center series (New York, Feb. 5, 2000
Miscellaneous
Online cross-references editing, American National Biography (Oxford University Press)
Manuscript editing for Yale University Press and Schirmer Books
Compositions include: Rondeaux on Texts by Guillaume de Machaut for soprano, cello, and harpsichord; Duo for harpsichord (four hands); and Sonata for harpsichord
last update: 2/17/08
