FROM THE EXECUTIVE DIRECTOR: We’re at a critical turning point for cultural institutions
This column was first published in the September 2025 issue of EMAg, the Magazine of Early Music America.
It’s no surprise that this issue of EMAg (Sept. 2025) has more than its fair share of musings on the future of early music. Before reading the rest of this page, you might want to check out Tom Kelly’s Musings column, Paulina Francisco’s Letter to the Editor, and Kyle MacMillan’s reported article on why presenters are (and are not) hiring enough early-music groups.
We’re at a critical turning point for cultural institutions. During the pandemic, many people found new ways of spending their time and money, and winning them back hasn’t been easy. Federal funding for arts and culture is rapidly diminishing, and there’s a real fear that foundations, corporations, and individual donors won’t pick up the slack (and might even give less if economic uncertainty continues). The number of “early music” slots in most presenters’ seasons has plateaued; the number of early-music groups looking to get hired has not.
And then there’s the untimely death of historical performance degrees at Indiana University. Other historical performance collegiate programs are experiencing serious budget issues that may impact recruitment and faculty retention.
What can we do? We can start by clearly articulating the value of degree-granting historical performance programs. Franciso’s Letter to the Editor rightly points out the dwindling prospects for students in HP degree programs. Students should be asking themselves hard questions about whether such a specialized degree is right for them. But, for the next generation of leaders in our field, we need rigorous, specialized study opportunities.
I’ll use myself as an example. I would not be where I am today without my MA in Early Music from Case Western Reserve University. I was challenged to be a scholar and performer at the highest level and was introduced to repertoire that I would otherwise have never encountered. My success as a scholar and performer is tied to the lessons learned in grad school.
Three of my bandmates in the medieval ensemble Alkemie were in the same program but completed the longer DMA program. While none of them have a tenure-track faculty position, they’ve become leading experts in early repertoire, especially medieval music. They are bearers of knowledge that makes them invaluable faculty members at summer programs, exceptional leaders of some very successful performing ensembles, and compelling performers.
On the flip side, I’ve seen the results of a lack of specialization. Each year, I read dozens of presentation proposals for the EMA Summit. I’ve noticed that scholars from universities with no early-music degree program are more likely to submit proposals that cover well-worn topics. We need specialists so that we can continue expanding upon existing knowledge.
In the case of Indiana University, I wonder if its administrators are aware of just how much degree-seeking historical performers raise the level of every class and ensemble they are a part of. Without them, will non-majors be as enticed to explore their curiosity about early music? Where will the next generation of professors be trained?
In this moment of turmoil, we should make our voices heard. Alumni of early-music programs should be staunch and public allies for the programs they graduated from. Professors and department heads must search for new language to defend the existence of their programs. And even though it can feel hopeless now, we must continue making our voices heard about federal funding and academic freedom.
We should also work diligently now to make sure this next generation of graduates has gainful employment. Every arts administrator reading this column should be looking for new audiences, new sources of funding, and board members who know how to navigate these new challenges.
David McCormick is executive director of Early Music America.
