In 1722, Johann Mattheson, a prolific writer on all musical matters, as well as a prominent musician, commented with high praise on a book that had appeared the previous year.

In particular, Mattheson quotes Scheibel's counsel that writing poetry to be read is very different from writing texts to be sung. He agrees with Scheibel that few of their contemporaries are able to write poetry that communicates the affect to be expressed in the music. The difference between the two, Mattheson notes, is that he comments from the perspective of a composer, whereas Scheibel identified himself as a philosophe.

A few years later, after Scheibel's 1725 publication of Poetische Andachten (Poetic Meditations), Mattheson again praised Scheibel, calling him a “well-disposed theological poet.” Later in the same work he labels Scheibel a “theologian and candidate for the ministry.”

In spite of his theological concerns, however, Scheibel did not enter the ministry but spent his career as a teacher at the Elizabeth Gymnasium in his home town of Breslau. His wide interests are revealed in the range of topics treated in his publications. In addition to the treatise on church music presented here, Scheibel also wrote a short history of church music, Die Geschichte der Kirchen- Music alter und neuer Zeiten. His concern for good poetry is evident in his writings on church music, and, similarly, his concern for good church music is expressed in his writings on poetry. His Die unerkannte Sünden der Poeten (The Unrecognized Sins of Poets), published in Leipzig in 1734, takes aim at both the poetry and the lifestyles of many poets of his day but at the same time lauds those civic societies of poets, such as the Hamburg Patrioten-Gesellschaft, that upheld the moral value of poetry. Scheibel credited Mattheson with making him aware of the members of this organization.