DAVID LOUIS SCHULENBERG--curriculum vitae

office address (through May 31, 1999):
Department of Music
Hill Hall, CB 3320
University of North Carolina
Chapel Hill, NC 27599
(919) 962-1039

home address (through May 31, 1999):
605 Jones Ferry Road #GG-15
Carrboro, NC 27510
(919) 933-8633

email: dlschule@email.unc.edu
homepage:http://www.unc.edu/~dlschule/index.html

After May 31, 1999, I can be reached through:
Professor Mary Oleskiewicz
Shrine to Music Museum
414 East Clark Street
Vermillion, SD 57069
(605) 677-5073
moleskie@usd.edu

Faculty positions

University of North Carolina at Chapel Hill, Assistant Professor (since Fall 1992)

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, Assistant Professor (Spring 1986)

University of Virginia, Assistant Professor (Fall 1983)

State University of New York at Stony Brook, Lecturer (Fall 1982)

Professional service, grants, and fellowships

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)

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 service

Courses for non-music majors: music appreciation; the symphony; keyboard music; Beethoven; Bach and Handel

Courses for music majors: opera; historical performance practice; counterpoint; surveys: Renaissance-Baroque; Classical-Romantic; nineteenth- and twentieth-century chamber music

Graduate courses: 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

Service: committees overseeing undergraduate and graduate studies; dissertation committees; music library committee; strategic planning committee; scholarship committee; maintenance of early keyboard instruments; UNC Faculty Council

Published and forthcoming books, articles, and editions

Music of the Baroque, textbook and anthology (2 vols.), forthcoming from Oxford University Press)

Editor, Bach Perspectives, vol. 4, forthcoming in 1999 from University of Nebraska Press

"Versions of Bach: Performing Practice in the Keyboard Works," to appear in Bach Perspectives, vol. 4 (University of Nebraska Press, 1999)

Fifty-nine entries to appear in the Oxford Bach Companion, ed. Malcolm Boyd (Oxford University Press, 1999), including: Art of Fugue; C.P.E., J.C., and W.F. Bach; clavier; Clavierbüchlein; continuo; English Suites; French Suites; toccata; thirty-one cantatas (nos. 4, 12, 31, 56, 82, 106, 140, et al.)

"Ornamentation: German Baroque," forthcoming in the revised New Grove Dictionary

Five bibliographic review articles to appear in Reader's Guide to Music (Fitzroy Dearborn Publishers): C.P.E. Bach, J.C. Bach, Baroque Keyboard Music, Continuo, Renaissance Keyboard Music

"European Art Music," to appear in The Garland Encyclopedia of World Music, vol. 8: Europe (Garland Publishing)

"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)

"The Keyboard Works of William Byrd: Some Questions of Attribution, Chronology, and Style," Musica Disciplina 47 (1993 [published 1997]): 99-121 (read Sept. 1991 at New England Chapter AMS meeting)

"'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)

Carl Philipp Emanuel Bach: Keyboard Sonatas, 1744-1747, Carl Philipp Emanuel Bach Edition, I/18 (Oxford University Press, 1995)

"Carl Philipp Emanuel Bach," in Eighteenth-Century Keyboard Music, ed. Robert L. Marshall (Schirmer Books, 1994), 191-229

"La toccata del primo barocco e l'avvento della tonalitá," 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)

The Keyboard Music of J.S. Bach (Schirmer Books, 1992)

"Expression and Rhetoric in the Harpsichord Works of J.S. Bach," in J.S. Bach: A Tercentenary Celebration (Greenwood Press, 1992), 95-109 (read at AMS convention, Vancouver, 1985)

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)

"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

The Instrumental Music of Carl Philipp Emanuel Bach (revision of dissertation; UMI Research Press, 1984)

"Composition as Variation: Inquiries into the Compositional Procedures of the Bach Circle of Composers," Current Musicology 33 (1982): 57-87

Published and forthcoming reviews, letters, and notes

Review of Das Wohltemperierte Klavier II, ed. Alfred Dürr, and Kunst der Fuge, ed. Klaus Hofmann (Neue Bach-Ausgabe, V/6.2 and VIII/2.1-2, with Kritische Berichten), MLA Notes 55 (1998-9): 755-60; see the online corrected version

"Missing Spitta Manuscript Found," American Bach Society Newsletter (Fall 1998), 6-7

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

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)

Recent papers and presentations

"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)

"C.P.E. Bach: Works of the 1740s," lecture-recital at Midwest Historical Keyboard Society, biannual meeting (St. Louis, April 27, 1996)

"Recreating Baroque Music: Fictional Worlds and Two Seventeenth-Century Tombeaux," read at Stanford University (Stanford, CA, April 15, 1996)

"Performance Problems in Early Italian Baroque Keyboard Music," topic of lecture-recitals given for American Guild of Organists (Dallas, 1994), First Annual Symposium of the Westfield Center for Early Keyboard Studies (Northampton, Mass., 1994), and American Musicological Society (New York, 1995)

Conference leader, 17th Annual Organ Conference, University of Nebraska at Lincoln (October 7-9, 1993)

Panelist, Byrd Performance Seminar, Boston Early Music Festival (June 19, 1993)

Recent performances

Harpsichordist, concert of music for Baroque flutes and continuo, with Mary Oleskiewicz, baroque flute, Library of Congress Flute Fest (Washington, DC, Feb. 27, 1998)

Director, concert of Baroque chamber music at 1997 Boston Early Music Festival, with Mary Oleskiewicz, flute; Lucy Yates, soprano; Brent Wissick, viola da gamba; and others: works of Quantz, Barbara Strozzi, J.S. and C.P.E. Bach, and others

Harpsichord recital, American Bach Project series, Milwaukee, WI: "The Youthful Bach: Harpsichord Masterworks From the Early Years" (March 19, 1997)

Semiannual concerts by the UNC Collegium Musicum (1993-7)

Harpsichord recital, 1995-6 MusicSources series, Berkeley, Calif.: works of J.S. Bach (April 14, 1996)

Works of Elizabeth Jacquet de La Guerre, Conference on Gender and Sexuality in Opera (Stony Brook, N.Y., Sept. 15, 1995)

Miscellaneous

Manuscript editing for Yale University Press and Schirmer Books

Compositions include: Rondeaux on Texts by Guillaume de Machaut for soprano, cello, and harpsichord (1996); Duo for harpsichord (four hands) (1995); and Sonata for harpsichord 1982, rev. 1992)

last update: 4/18/99