Contributors to Understanding Bach
Rachel Baldock is a freelance oboist and an AHRC research scholar at the Royal Academy of Music in London. After gaining a First Class BA degree in Music at Cambridge University and a Distinction in Performance and Research at Master’s level at the Royal Academy of Music, she is continuing her academic studies with doctoral research into dynamic markings in C.P.E.Bach’s instrumental music alongside performing regularly with many British leading period instrument ensembles.
John Butt holds the Gardiner Chair of Music at
the University of Glasgow. His recent research has ranged from aspects
of the ontology of music in the seventeenth century to considerations of the
influence of plainchant in the music of Elgar. He is currently working on a
series of essays relating to new ways of understanding and interpreting the
Passions of Bach.
Dalia Cohen is Professor
Emeritus of the Department of Musicology at The Hebrew University and the
Jerusalem Academy of Music. Her research interests include music theory,
universals in music, music perception and cognition, learned and natural
musical schemata, style as determined by both the aesthetic ideal and cognitive
constraints, vocal communication among humans and animals, symmetry in music,
musical language of Bach, Arab music in theory and practice.
Elise Crean is an AHRC doctoral scholar at Queen's University
Belfast. After gaining a First Class BMus degree and a Distinction in Music at
Master’s level, she is currently researching the historical and musical context
of Bach’s canons under the supervision of Professor Yo Tomita. She co-edited Understanding
Bach’s B-minor Mass: Volume I (Belfast, 2007) for the International
Symposium: Understanding Bach’s B-minor Mass.
Ian Cross is Reader in Music and Science and is a Fellow of Wolfson College, Cambridge, where he is also Director of the Faculty’s Centre for Music and Science. He has published widely in the field of music cognition. His current research focus is on the exploration of music as a biocultural phenomenon, involving collaboration with psychologists, engineers, anthropologists and archaeologists.
Alison Dunlop is a PhD student under the supervision of Yo Tomita at Queen's University Belfast having earlier graduated with a First Class BA degree in Modern Greek and Music, and a Distinction in Music at Master’s level. In 2007 she designed and produced the exhibition and accompanying catalogue ”Bach’s B-minor Mass Performed in Foreign Lands” for the International Symposium: Understanding Bach's B-minor Mass.
Martin W. B. Jarvis is Associate Professor at Charles Darwin University and Artistic Director of the Darwin Symphony Orchestra, and in 2007 was awarded the Order of Australia Medal for services to music. He is currently exploring the application of Forensic Document Examination techniques to Bach manuscripts in conjunction with leading international FDE expert Dr Bryan Found.
Richard Jones is an English Bach scholar well known for his editions and translations, among which are the edition of Clavierübung I (Neue Bach-Ausgabe), the edition of Das Wohltemperierte Klavier (Associated Board), and his recent translation of Alfred Dürr’s classic Die Kantaten von J. S. Bach. The first volume of his two-volume work The Creative Development of J. S. Bach, was published in December 2006.
Ruth HaCohen holds the Artur Rubinstein chair of musicology at the
Hebrew University
of Jerusalem. Her work covers problems of music and meaning and the
critical aspects of the cultural analysis of music from the early baroque to
twentieth century music. Currently she is completing a study on the
entanglement of Jews and Christians in musical and literary works that address
‘Jewish unmusicality’.
Tanja Kovačević is an AHRC
doctoral scholar at Queen's University Belfast, researching into Bach reception in Europe. Having read for two degrees (Musicology and English)
at the University of Zagreb (Croatia) she completed her undergraduate studies
at Queen’s, winning the Bank of Ireland Millennium Scholarship in 2006 and
graduating with a First Class BMus. She has published widely as arts
correspondent in the bi-weekly broadsheets Vijenac and Zarez, and
most recently was co-editor of Understanding Bach’s B-minor Mass, Vol II (Belfast,
2007).
Robin A. Leaver is Professor of Sacred Music at Westminster Choir College of Rider University, Visiting Professor at the Juilliard School, and past-president of the American Bach Society. He has published widely, focusing particularly on Lutheran church music. His most recent book, Luther's Liturgical Music: Principles and Implications (Eerdmans, 2007) includes discussion of Luther's impact on Lutheran composers, especially Bach.
Michael Maul is a research associate at the Bach Archive in Leipzig. He was awarded a doctorate in 2006 for a thesis on Baroque Opera in Leipzig (forthcoming 2008) for which he was awarded the Gerhart-Baumann-Preis in 2007. Already well-known in Bach circles for numerous publications on 17th and 18th century German music, he hit the international headlines in July 2005 when he discovered the unknown Bach aria “Alles mit Gott und nichts ohn’ ihn” BWV 1127.
Ian Mills is a prize-winning organist and choir director and currently the youngest Cathedral Organist in the UK. Having gained a First Class BMus and a Distinction at Master’s level he is continuing his academic studies with a doctoral dissertation on the reception of Bach’s Great Eighteen chorale preludes in the late eighteenth- and early nineteenth- centuries. He co-edited Understanding Bach’s B-minor Mass: Volume I (Belfast 2007) for the International Symposium: Understanding Bach’s B-minor Mass.
Szymon Paczkowski is a lecturer at the University of Warsaw. Following his doctoral research in Warsaw, Freiburg and Tübingen he published his first book Nauka o afektach w myśli muzycznej I połowy XVII wieku (The musical doctrine of affections of the first half of the seventeenth century) in 1998. Currently in preparation is his monograph on the allegorical meaning of the Polish style in eighteenth century German music. In addition to his active participation in many international conferences over the past decade, he was chairman in 2006 of the highly acclaimed 12th Biennial Conference of Baroque Music in Warsaw.
Stephen Rose is Lecturer in Music at Royal Holloway, University of London, and the Reviews Editor (Books & Music) of Early Music. His publications examine German music in its social, material and performing contexts, with a particular focus on printing and the book-trade. He is completing a book on the novels and autobiographies written by German Baroque musicians.
Burkhard Schwalbach is an AHRC scholar reading for a DPhil at Magdalen College, Oxford under the supervision of Professor Laurence Dreyfus. Graduating from King’s College, London with a First Class BMus and the Purcell Prize in Music for the best result in the final examinations, he continued his studies there, gaining a Distinction in a MMus specialising in Historical Musicology. He is currently preparing a thesis on J.S. Bach’s social and creative environment in eighteenth-century Leipzig.
Andrew Stewart is a freelance music journalist and critic based in London, regularly contributing to consumer and trade magazines. He is currently researching the post-war reception of Wilhelm Furtwängler and the intervention of selective memory in music journalism. His musical activities include theartistic direction of Southwark Voices, a professional chamber choir.
Reinhard Strohm is Heather Professor of Music at Oxford University. His research interests include Eighteenth-century Italian opera, particularly of Handel and his contemporaries, late-medieval music and its social context, modernist/postmodernist debates in musical historiography. He is currently writing on Classicism, Ideology, Utopia in the 17th and 18th centuries and 18th-century music and social history (iconography, local history, opera singers and impresarios).
Ruth Tatlow is an associate professor at the Stockholm University. Following the success of her first book Bach and the Riddle of the Number Alphabet, her research and publications have focused on the use of numbers in compositional theory and practice, which has resulted in the formulation of the theory of proportional parallelism in Bach’s music. She is a co-founder of Bach Network UK and editor of Understanding Bach.
Yo Tomita is Reader at Queen’s University, Belfast. His research interests include Bach Studies (in particular the Well-Tempered Clavier II ), the pedagogical aspects of piano education, text-critical analysis using Artificial Intelligence techniques, manuscript studies, and the development of computer software and tools for musicology. He maintains the on-line Bach Bibliography on the World-Wide-Web and is a Trustee of Bach Network UK.