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Institute für Music und Musicology
Faculty of Art and Sports Sciences
Studenten im Sommer auf dem Campus Nord, rote Zahnräder im Hintergrund © Roland Baege​/​TU Dortmund
Chair of Music Theory

Prof. Derek Remeš, Ph.D.

Room: 5.207

Office hours: To be announced via email.

© Hesham Elsharif

Research Focus Areas

  • Historical Syntax
  • Sentence Models
  • Morphology
  • J. S. Bach and His Circle of Students
  • Style-Based Improvisation
  • The Paris Conservatory
  • Music Theory and Pedagogy
  • Ear Training and Solmization
  • Jazz and Pop Music
  • Music Editing

You can find my current resume here.

 

I. Books

1.    2021. The Art of Preluding: Deconstructing and Reconstructing the Preludes in J. S. Bach’s Well-Tempered Clavier I & II. Colfax, NC: The Leupold Foundation.

            Rezensionen: 

  • Francis Knights, Harpsichord & fortepiano 27.2 (Spring, 2023): 36.

 

2.    2019. Realizing Thoroughbass Chorales in the Circle of J. S. Bach. 2 vols. Colfax, NC: Wayne Leupold Editions.

            Rezension:

  • Siavash Sabetrohani, Bach Notes 34 (Spring, 2021): 7–8.

 

II. Articles in Journals

  1. 2025. “Matthäus Gugl’s Fundamentals of Thoroughbass: Edition, Translation, and Commentary.” Theoria. Forthcoming.
  2. 2021. “Eine Rekonstruktion von Johann Sebastian Bachs ‘Fundamental-Regeln der Composition’ Reflexionen über einige Neuentdeckungen.” Musik & Ästhetik 25, 100 (October): 36–53.
  3. 2021. Derek Remeš and Michael Maul. “Jakob Adlung’s ‘Anweisung zum Fantasiren’ (c.1725–7): edition, translation, and commentary.” Early Music 49/iii (August): 429–439. https://doi.org/10.1093/em/caab054
  4. 2020. Derek Remeš and Frederik Kranemann. “The Fundamenta compositionis Jean Kuhnaus 1703: Edition, Translation, and Commentary.” Zeitschrift der Gesellschaft für Musiktheorie, 17/2. https://doi.org/10.31751/1084, https://doi.org/10.31751/1086, https://doi.org/10.31751/1088
  5. 2020. “Harmonizing Chorales Systematically: A Translation of G. H. Stölzel’s Kurzer und Gründlicher Unterricht (Brief and Thorough Instruction), ms. c.1719–49.” Music Theory Online 26/3. https://doi.org/10.30535/mto.26.3.7
  6. 2020. “Some (Dis)Assembly Required: Modularity in the Keyboard Improvisation Pedagogy of Jacob Adlung and Johann Vallade.” Music Theory Online 26/1 (March). https://doi.org/10.30535/mto.26.1.5
  7. 2019. “Compositional Pedagogy Near J. S. Bach: Editions and Translation of Four Sources.” Zeitschrift der Gesellschaft für Musiktheorie 16/2: 95–165. https://doi.org/10.31751/997, https://doi.org/10.31751/1014, https://doi.org/10.31751/998, https://doi.org/10.31751/1012, https://doi.org/10.31751/1013
  8. 2019. “New Sources and Old Methods: Reconstructing and Applying the Theoretical Paratext of Johann Sebastian Bach’s Compositional Pedagogy.” Zeitschrift der Gesellschaft für Musiktheorie 16/2: 51–94. https://doi.org/10.31751/1015
  9. 2019. “Four Steps Towards Parnassus: Johann David Heinichen’s Method of Keyboard Improvisation as a Model of Baroque Compositional Pedagogy.” Eighteenth-Century Music 16/2: 133–154. https://doi.org/10.1017/S1478570619000149
  10. 2018. Robin A. Leaver and Derek Remeš. “J. S. Bach’s Chorale-Based Pedagogy: Origins and Continuity.” BACH: Journal of the Riemenschneider Bach Institute 48/2 and 49/1: 116–150. https://doi.org/10.22513/bach.48-49.2-1.0116
  11. 2018. “Teaching Figured-Bass with Keyboard Chorales and C. P. E. Bach’s Neue Melodien zu einigen Liedern des Neuen Hamburgischen Gesangbuchs (1787).” BACH: Journal of the Riemenschneider Bach Institute 49/2: 205–226. https://doi.org/10.22513/bach.49.2.0175
  12. 2017. “Chorales in J. S. Bach’s Pedagogy: A Method for Teaching Undergraduate Music Theory Inspired by a New Source.” Journal of Music Theory Pedagogy 31: 65–92.
  13. 2017. “J. S. Bach’s Chorales: Reconstructing Eighteenth-Century German Figured-Bass Pedagogy in Light of a New Source.” Theory and Practice 42: 29–53.

 

III. Essays in Anthologies

  1. 2025. “Johann Joseph Fux (1660?-1741) Kaiserrequiem (K 51–53; ca. 1719-20).” In Book of Requiems, ed. Markus Neuwirth. Forthcoming.
  2. 2025. Derek Remeš, Victor Duy Phan, and Mark Gotham. “Clausulae-Pairs in Multiple-Bass Chorales.” In The Oxford Handbook of Musical Variation and Thematic Techniques, ed. Jeffrey A. Swinkin. Oxford: Oxford University Press. Forthcoming.
  3. 2023. “Wieso bezeichnete Johann Sebastian Bach den Generalbass als ‘fundamental’ in der Komposition? Die Generalbasslehre als Kompositionslehre.” In Alte Musik für heute: Geschichte und Perspektiven der historischen Aufführungspraxis, ed. Richard Lorber. zamus: Zentrum für alte Musik Köln. Kassel: Bärenreiter.
  4. 2022. Introduction to F. W. Marpurg’s Abhandlung von der Fuge. Between Chopin and Tellefsen. European Music Treatises: Universality and National Identity. Warsaw: Fryderyk Chopin Institute. https://doi.org/10.56693/mt.2022.01.03
  5. 2021. “Bach’s Chorale Pedagogy.” In Rethinking Bach, ed. Bettina Varwig, 271–288. Oxford: Oxford University Press.
  6. 2021. “Partimento-Pädagogik der französischen Romantik: Henry Challans 380 Basses et chants donnés.” In GMTH Proceedings 2017: Populäre Musik und ihre Theorien. Begegnungen – Perspektivwechsel – Transfers. 17. Jahreskongress der Gesellschaft für Musiktheorie und 27. Arbeitstagung der Gesellschaft für Popularmusikforschung Graz 2017, ed. Christian Utz, 85–106. GMTH Proceedings 2017. https://doi.org/10.31751/p.43
  7. 2020. “Exploring the Compositional Potential of Thoroughbass in Today’s Classroom.” In Das Universalinstrument: “Angewandtes Klavierspiel” aus historischer und zeitgenössischer Perspektive / The Universal Instrument: Historical and Contemporary Perspectives on “Applied Piano,” ed. Philipp Teriete and Derek Remeš, 179–215. Schriften der Hochschule für Musik Freiburg. Band 9. Hildesheim: Olms.

 

IV. Translations

  1. 2025. Derek Remeš, trans. Carl Philipp Emanuel Bach. Versuch über die wahre Art das Clavier zu spielen. Part II. The Complete Works. Los Altos, CA: The Packard Humanities Institute. Forthcoming.
  2. 2022. Derek Remeš, ed. and Jane Hines, trans. F. W. Marpurg’s Abhandlung von der Fuge. Between Chopin and Tellefsen. European Music Treatises: Universality and National Identity. Warsaw: Fryderyk Chopin Institute. https://doi.org/10.56693/mt.2022.01.03

 

V. Edited Volumes

  1. 2024. Solfeggio in the Eighteenth Century. Special Issue vom Journal Music Theory and Analysis.
  2. 2020. Philipp Teriete and Derek Remeš, eds. Das Universalinstrument: »Angewandtes Klavierspiel« aus historischer und zeitgenössischer Perspektive / The Universal Instrument: Historical and Contemporary Perspectives on “Applied Piano.” Schriften der Hochschule für Musik Freiburg, Band 9. Hildesheim: Olms.

   Rezension: 

 

VI. E-Books

  1. 2021. W. A. Mozart’s 24 Thoroughbass Exercises for his Pupil, Thomas Atttood: A Pedagogical Edition. Self-published e-book available for free at derekremes.com.
  2. 2020. Johann Christoph Kellner’s Grundriss des Generalbasses | Basics of Thoroughbass (1783): Edition and Translation. Self-published e-book available for purchase at derekremes.com.
  3. 2020. Emanuel Aloy Förster’s Practische Beyspiele | Practical Examples (1818): Edition and Translation. Self-published e-book available for purchase at derekremes.com.
  4. 2020. “G. P. Telemann’s Exercises in Singing, Keyboard-Playing, and Thoroughbass: A Pedagogical Edition and Translation.” Journal of Music Theory Pedagogy. Resources Section.
  5. 2019. “A Compendium of Voice-Leading Patterns from the 17th and 18th Centuries to Play, Sing, and Transpose at the Keyboard.” Journal of Music Theory Pedagogy. Resources Section.

 

VII. Reviews and Conference Reports

  1. 2018. Kontrapunkt II: Die Musik des Barock by Johannes Menke. Music Theory and Analysis 5/2 (October): 236–245.
  2. 2019. “Anweisung zum Fantasieren: Symposium zur Praxis und Theorie der Improvisation im 17. und 18. Jahrhundert. March 19–21, 2018, Schola Cantorum, Basel, Switzerland.” Eighteenth-Century Music 16/1: 89–91.