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
 
Ruth HaCohen holds the Artur Rubinstein Chair of Musicology at the Hebrew University of Jerusalem. In her work she seeks to explicate the role played by Western music in shaping and reflecting wide aesthetic and cultural processes, extending from baroque to modern music . Among her recent publications is: Tuning the Mind: Connecting Aesthetic Theory to Cognitive Science, Transaction, 2003 (with Ruth Katz).  Forthcoming in 2010 is her study on Vocal Fictions of Noise and Harmony: The Music Libel against the Jews.
 
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.
 
Reinhold Kubik had a career as opera Kapellmeister before studying musicology, art history and theatre history. He took his doctorate with a dissertation on Handel’s Rinaldo. After the university years he predominantly worked in musical editing (Hänssler Verlag, Universal Edition). For John Eliot Gardiner’s Bach Pilgrimage (2000) he edited all of Bach’s church cantatas. Since 1992 he has been directing the Critical Edition of the complete works of Gustav Mahler.  He has maintained a strong interest in the stage realisation of baroque opera, in close collaboration with his wife, Margit Legler. Together they also give Lieder recitals on the Hammerklavier, with historical gesture.
 
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.
 
Margit Legler has worked for many years as a professional dancer; she subsequently studied baroque singing and gesture. She now teaches stage performance, according to historically-oriented performance practice, at the Vienna music universities and in numerous workshops presented all over Europe. She has also directed operas – by Mozart (Die Zauberflöte), Gassmann (Il trionfo d’amore), Gluck (Il Parnaso confuso), and most recently Purcell’s Dido and Aeneas for the Halle Handel Festival at the Goethe theatre (1797) in Bad Lauchstädt. For this performance she founded her own student ensemble (L’ AZIONE TEATRALE), which she directs in collaboration with her husband, Reinhold Kubik.
 
Michael Maul was born in Leipzig, studied musicology, journalism and business studies. In 2006 he obtained the doctorate in musicology at the Albert-Ludwig University of Freiburg with a dissertation on Baroque Opera in Leipzig (1693–1720), which appeared as a book in 2009.  Since 2002 Maul has been working in the Bach-Archiv Leipzig.  His publications focus on Johann Sebastian Bach and German music of the seventeenth and eighteenth centuries. In 2008 he was appointed a council member of the Neue Bachgesellschaft.
 
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.
 
Julian Mincham was Chair and Curriculum Leader of Music at Middlesex University  until 2005, leaving it to devote more time to research. His present main interests include researching, presenting and improvising piano scores for films of  the ‘silent movie’ era (e.g. Keaton, Chaplin and Lloyd) and the Bach cantatas. His five year project on the latter should be in the public domain in 2010.
 
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.
 
Irmgard Scheitler has studied Theology, German Literature and Byzantine Studies and is professor at Würzburg University, teaching modern German philology. Her research includes travel literature, contemporary novel and poetry of the romantic era. A focus of her interests are the interactions between music and text (Lied, hymn, cantata); her most recent publication is Deutsche Oratorienlibretti. Von den Anfängen bis 1730.  She is presently holding a research scholarship, preparing a major study on incidental music in German drama of the sixteenth and seventeenth centuries.
 
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.
 
Tatiana Shabalina is a Professor at the St. Petersburg State Conservatoire (Piano and Musicological Departments). She is author of a series of books on J.S.Bach's life and works and editor of the Clavierübung and the Flute Sonatas. Her recent contributions to Bach studies include the discovery of a Bach autograph in Pushkin-House, St. Petersburg and other Bach sources in various Russian archives and libraries. She is currently compiling a catalogue of Texte zur Music in St. Petersburg and preparing a book on Bach sources in Russia.
 
Peter Smaill is a Director of a financial services business, Fairfax plc, and of an Investment Trust, Core plc. He was born in Scotland and grew up in Stirling, where the medieval Church of the Holy Rude through its choir and organ (the largest in Scotland) maintained a Bach-focused tradition. At Edinburgh University he was a tenor in its Renaissance Singers while embarking on a lifelong study of the Bach Cantatas, culminating in a complete survey of the oeuvre along with the online Bach cantatas website (www.bach-cantatas.com). Apart from analysing the theological tendencies of the Cantatas he has also examined the numerological evidence suggesting J S Bach was the dedicatee of the hybrid St Luke Passion, in line with recently discovered allusions in the early Cantata BWV150 to the BACH name. He became a Trustee of BNUK in 2008.
 
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 Professor of Music at Oxford University and Emeritus Fellow of Wadham College. He is interested in late-medieval music, the history of opera, eighteenth-century composers (Bach, Handel, Vivaldi, A. Scarlatti) and the historiography of music. His publications include critical editions of English late-medieval music and Italian operas, libretto translations and the recent books, Dramma per musica: Italian Opera Seria of the Eigheenth Century (New Haven & London, 1997) and The Operas of Antonio Vivaldi (Florence, 2008
 
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.
 
Isabella van Elferen is assistant professor of Music and New Media at the Institute for Media and Representation of Utrecht University. Her dissertation From Laura to the Heavenly Bridegroom: Petrarchan Love Discourses in German Baroque Poetry and Music will be published in 2007. She has published on music, literature and cultural history of the German Baroque as well as on MTV, mobile phone ringing tones and Gothic. Her current research focuses on on- and offline Gothic communities.
 
Christoph Wolff is Adams University Professor at Harvard University. He currently serves as Director of the Bach-Archiv in Leipzig, Chair of the Akademie für Mozart-Forschung in Salzburg, and President of the Répertoire International des Sources Musicales. He has published widely on the history of music from the fifteenth- to the twentieth centuries.
 
Peter Wollny is head of research at the Bach Archive in Leipzig, General Editor of Carl Philipp Emanuel Bach: Collected Works, Editor of the Wilhelm-Friedemann-Bach-Ausgabe, Editor of the Bach-Jahrbuch and of the Jahrbuch Mitteldeutsche Barockmusik. His numerous publications include editions in the Neue Bach Ausgabe series, books and articles on the Bach family and on the history of 17th and 18th-century music.