Description
How can the early music movement move into the future? Could this be a transformative moment for change and growth? In this collection of essays, a diverse group of young and established voices from across the globe offers exciting, positive, and challenging thoughts about how we can reimagine the early music movement in this new century. Nicholas Kenyon's preface is followed by sixteen chapters written by performers, scholars, and pedagogues. They introduce new ways to conduct research, discuss various performative issues, offer numerous educational directions and exciting technological tools, and-perhaps most importantly-suggest ways we can engage with the present as well as with the past. These chapters include material that has been translated into English for the first time and are presented under Methodological Viewpoints, (Non) Historical Instruments, Pedagogical Perspectives, Transformative Technologies, and Revisiting History. An accompanying website provides additional audio and video material. This post-revival period for the early music movement is crucial for its enduring success. How can a revival movement that looks to the past for inspiration engage with today's social and technological concerns? Early Music in the 21st Century asks important questions for everyone interested in early music—performers, teachers, academics, instrument makers, historians, and music lovers. By encouraging a return to the revolutionary spirit of the pioneering generations, this book offers a plethora of positive possibilities for the future of early music.
Table of Contents
Foreword: Polarization, Reintegration, and Diversity Sir Nicholas Kenyon 1. Introduction Mimi Mitchell Part I: Methodological Viewpoints 2. Early Music: Views from Ethnomusicology Caroline Bithell 3. Renewing Historical Performance through an Embodiment of Historical Acting Techniques Jed Wentz 4. Historical Interpretation Research-New Sources and Methodologies Kai Köpp Part II: (Non) Historical Instruments 5. Making (Faking?) Early Music Jeremy Montagu 6. Plastic Fantastic? Fiona Brock, Andrew Hughes, and Jeremy Uden 7. Modern Versus Historical Instruments: International Bach Competition Leipzig Mimi Mitchell Part III: Pedagogical Perspectives 8. Professionalizing Historical Performance: The Past and Present of Early Music Education in Am-sterdam Kailan Rubinoff 9. "HIP for All" or Specialized Training: Diverse Missions for Early Music in Higher Education Kelly Landerkin and Claire Michon 10. Nows, Thens, and Truths: Attending to the Present in Performing the Past Jonathan Impett 11. Towards a More Inclusive Early Music Deanna Pellerano Part IV: Transformative Technologies 12. Early Music and the Paradox of Technology Alon Schab 13. "Nutrition in an Age of Diet Soft Drinks": the Utopa Baroque Organ in Amsterdam Hans Fidom 14. Developing Virtual Acoustic Systems for Use in Early Music ResearchEoin Callery and Jonathan Abel Part V: Revisiting History 15. The New Dutch Recorder Sound of the 1960s Robert Ehrlich 16. Early Music in the Latin Americas: An Alternative Scene Melodie Michel 17. Remixes and Radical Revivals: Baroque Opera Production and the Opera Wars Caitlin Vincent Index
