Beverly Jerold Scheibert


Instruments Played
Organ, Harpsichord, Fortepiano

Personal Summary / Bio

Articles since 2000 by Beverly Jerold (Scheibert):

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

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

"The notable significance of C and stroked-C in Bach's era," The Musical Times 155/1027 (Summer 2014): 85-96. 

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

"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 :

"Johann Philipp Kirnberger versus Wilhelm Friedrich Marpurg," Dutch Journal of Music Theory 17/2 (2012): 91-108 (includes temperament).

“Overdotting in Handel’s Overtures Reconsidered,” Göttinger Händel-Beiträge 14 (2012): 229-252.

“Hummel’s Metronome Marks for Mozart and Beethoven,” The Beethoven Journal 26/2 (Winter 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," Goettinger Haendel-Beitraege 13 (2010): 141-63.

"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.

"Why Early Woodwind Instruments Were Seldom Played in Tune," NACWPI Journal (National Association of College Wind and Percussion Instructors) 66 (Fall, 2007): 12-19.

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:Playingthe 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): 82-6.

"Pedal Technique in Early Music," The American Organist 34 (Oct. 2000): 82-5.

"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): 21-7.


 The Complexities of Early Instrumentation:  Wind and Brass (Turnhout: Brepols), forthcoming in Musical Treatises, 3).

 Performance:  organ and harpsichord at various locations, principally in the Boston area: King’s Chapel, The French Library, Methuen Music Hall, Museum of Fine Arts, Gardner Museum, Busch-Reisinger Museum, Massachusetts Institute of Technology; Harvard University; St. Paul's Cathedral, etc.

Organ study with David Craighead, Arthur Poister, and George Faxon; harpsichord with Daniel Pinkham.



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26 Webb Place, Unit 3B
Mansfield, MA, 02048
United States
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