Inclusion, Diversity, Equity, and Access

Creating a more inclusive early music community


EMA recognizes that:

  • Early music programming, curricula, and research are mainly Euro-centric, thereby excluding and discouraging some potential participants in the early music field.
  • Administrations, ensembles, and audiences fall short in representing the diverse demographics of The Americas. 
  • Due to historical and systemic inequities, access to early music is not readily available to everyone.

IDEA Task Force Mission 

The IDEA Task Force promotes EMA’s values of diversity and inclusion by advising EMA in its planning and implementation of strategic initiatives so that the early music field can begin to represent and embrace the many different communities of The Americas.

Please Contact EMA with suggestions, comments, and/or recommendations for our work in this area.

2023-2024 IDEA Task Force Members 

Thomas Carroll
Vijay Chalasani*, secretary
Isaiah Chapman
Joyce Chen*, co-chair
Karin Cuéllar-Rendón*, co-chair
Gus Denhard
Keats Dieffenbach
Lindsie Katz
JungHae Kim
Addi Liu
Breana McCullough
Nicky Manlove
Anna Porcaro
Eduardo Quintela
Guillermo Salas Suárez
Byron Schenkman

*EMA Board Member
Derek Tam, Ex Officio Member
Read task force member bios below.


Resources

If you know of a resource or article that you believe belongs on this page, please contact EMA with your suggestion.

Related webinar recordings and performance videos can be found on the EMA Video Resources page.

Recent News

Salamone Rossi's 'Songs of Solomon' at 400
The innovative, cross-cultural work of Salamone Rossi, a Jewish musician at the Gonzaga court in Mantua, has long stirred controversy and strong opinion. The Bay Area's Philharmonia Baroque Orchestra will ...
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Essay: Let's Keep IDEA in Mind
'The basic idea is to take classical music from the concert halls and bring it into the communities, but on the community’s own terms: music in their language, music they ...
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The Women Who Preserved Music in Latin America
The latest essay in EMA's 'Early Music: the Americas' series looks into the private notebooks of two women who preserved music of Latin American and European composers -- music that ...
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Just 'Because' — Reginald Mobley Sings Negro Spirituals
Star countertenor Reginald Mobley's first solo recording is devoted to spirituals and art songs centered on the Harlem Renaissance. He delivers with the purity of a Handelian countertenor and the ...
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America's First Published Black Composer?
Season 2 of "Early Music: the Americas," an online series of scholarship and storytelling from EMA's Emerging Professional Leadership Council, starts with an article on the fascinating life and music ...
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Reflections on 400 Years of Sephardic Choral Music
From the 17th century onward, choral music became the defining feature of the musical identity of Western Sephardic Jews ...
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Apprentices as Colleagues and Sometimes as Teachers
The Baroque Chamber Orchestra of Colorado started an apprentice program in 2007, in part to mentor the next generation, to scout for new members, and to bring fresh perspectives into ...
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  1. The task force will be comprised of no more than 13 members.
  2. Members will be committed to the mission of the task force.
  3. Members will serve a 2-year term. There is an optional third year of membership contingent upon invitation by the task force co-chairs and EMA executive director. After rotating off of the task force for 1 year, former members may reapply. Task force members who have rotated off the task force are encouraged to mentor new entering members of the task force.
  4. Task force members and chairpersons will be selected by the IDEA Task Force application review committee, comprising of the EMA executive director, EMA board president, the continuing co-chair(s) of the task force, and two continuing task force members. The representing task force members will be voted on by the members of the task force.
  5. Full task force meetings will take place every other month: October, December, February, and April. As a task force member, you are expected to participate in three out of the four full task force meetings during the year.
  6. Task force members are expected to be a part of at least one subcommittee where they will contribute towards one or more projects over the course of the year.
  7. Members are expected to:
    1. Attend at least 7 out of 10 subcommittee meetings and 3 out of 4 full task force meetings each year.
    2. Actively participate in task force meetings and online check-ins on a regular basis, including the designated IDEA Task Force Slack channel.
    3. Review meeting agendas and notes to prepare for task force meetings and if a meeting is missed.
    4. Maintain confidentiality about issues discussed in task force meetings.
  8. Members will be selected for vacant spots through an application process that will be based on an expression of interest to join the task force. Applicants will be communicated with in a timely manner regarding their application and extended an invitation to start their term if selected. All persons are eligible to apply.
  9. EMA membership is not required at the time of application, however, task force members are encouraged to maintain a current EMA membership so that they are privy to EMA’s various activities. All task force members are offered a free EMA membership for the duration of their tenure on the committee.
  10. Members are invited to attend EMA board meetings (in person or via Zoom), as observers; to participate in EMA Board training programs; and/or to actively participate on select Board committees as full members.
  11. Members of the EMA board and other committees can attend IDEA Task Force meetings but are not permitted to act as voting members.

Thomas Carroll

he/him

My name is Thomas Carroll, Boston-based clarinetist and instrument builder. I hold degrees from Oberlin Conservatory, Indiana University, and The Royal Conservatory of The Hague, and currently perform as principal clarinet with Philharmonia Baroque Orchestra, Teatro Nuovo, Mercury Chamber Orchestra, and Boston Baroque, among others. As a researcher, my interests lie in examining the social impacts and influences of music, particularly as a means to question and reinvigorate the discussion of what or who determines the worth of a piece of music or composer.

Vijay Chalasani

he/him

I am a South Asian-American performer of modern and historical violas, scholar, teaching artist, and an advocate for diversity and equity. I am a founding member of Sinfonia Spirituosa and perform with ensembles on the west coast and in Colorado, and contribute to groundbreaking research in 19th century viola playing and performing styles. One of my greatest joys is sharing repertoire and playing styles that have been lost or ignored, and I look forward to continuing to open the field of early music to those who have been historically excluded with the EMA IDEA Taskforce.

Isaiah Chapman

he/him

My name is Isaiah Chapman, and I am a violist—baroque and modern—and archivist, interested in bringing more awareness to African diasporic Early Music practices that may have directly, or indirectly, influenced music in the Americas. I hold degrees from the University of North Texas, Eastman School of Music, Peabody Institute of the Johns Hopkins University, and am currently at Simmons University studying Library and Information Science, Archives Management. I reside in the Greater Boston area, and along with my research interests, hope to push more inclusivity within the realm of Early Music along with the IDEA task force.

Joyce Chen

I am a Taiwanese harpsichordist based in Philadelphia while pursuing a PhD in Historical Musicology at Princeton University. My research interests include acoustics, musical instruments, aesthetics, and performance practice; I am currently preparing for an online opinion piece for EMA on Asian practitioners of early music. As an avid performer, I was one of the featured soloists in the 2019 Early Music America Emerging Artist Showcase in Bloomington.

Karin Cuéllar-Rendón

she/her

I am a Bolivian historical violinist and scholar interested in researching and presenting non-euro centered early music while recognizing the syncretism and connections with traditional music. I studied Historical Performance at Case Western Reserve University, Royal Academy of Music and currently pursue a PhD in Musicology at McGill University with a research focus on 19th c. performance practices in South America using as a case study the music of Peruvian composer Pedro Ximenez Abrill Tirado.

Gus Denhard

he/him

I have been the Executive Director of Early Music Seattle (Formerly Early Music Guild of Seattle) since 2000 and I’m graduate of the doctoral program in early music performance at Indiana University. My performance interests include Trio Guadalevin and The Eurasia Consort – a reflection of my position that early music should include all of the world’s deep-rooted music traditions.

Keats Dieffenbach

they/them or any

I am active as violinist, violist, and curator in both modern and historical settings. I’m a recent graduate of Juilliard’s Historical Performance program and now live on unceded Abenaki land known as Southeastern Vermont. Having often felt out of place amongst the exclusionary culture of traditional classical music, I found a sense of belonging within our community of historical performers. As some of the most inventive and imaginative voices in classical music, early musicians are uniquely positioned to be leaders in pursuing equity, and I’m honored to join the IDEA Task Force in this work. I am bisexual and transmasculine, and I use any pronouns.

Lindsie Katz

she/her

As a queer, white woman and artist, I have a mission to create spaces that ignite conversation and change. I believe I have a responsibility to live authentically and demonstrate what it looks like to listen, uplift and empower each other through performance, education, and social justice. I am currently pursuing a masters in baroque violin through Juilliard’s Historical Performance program. I have found a refreshing commitment to growth in the early music community, which I want to continue fostering as a member of the IDEA Task Force, a committee dedicated to constructing a world that is inclusive and accessible to everyone.

JungHae Kim

she/her

I am a Korean-born harpsichordist living and working in San Francisco. I completed my Bachelor’s at Peabody Conservatory, a Masters in Historical Performance at Oberlin Conservatory, studied for a year with Gustav Leonhardt in Amsterdam, and completed a Performer’s Certificate at Sweelinck Conservatory. I am co-director of MusicSources Center for Historically Informed Performance in Berkeley, CA. I maintain a busy solo and chamber music performing career and teach historical keyboard, music theory, musicianship and continuo realization. I coach chamber music, give lectures, and teach masterclasses throughout the U.S., in Europe, and in Asia.

Addi Liu

he/him

I am a baroque violinist and researcher interested in the circulations and translations of music theory and material culture between early modern Europe and China. I currently reside in Ithaca, NY, where I am a PhD student in Music and Sound Studies at Cornell University.

Breana McCullough

she/her

Ayukîi nanêefyiiv, my name is Breana McCullough and I am a Karuk violist and scholar currently researching Indigenous representation in Early Music. I hold degrees in Performance and Woman and Gender Studies from the University of Colorado, Boulder. I started to pursue my research at the Jacobs School of Music in the Historical Performance Institute but have since moved to Los Angeles to pursue my PhD in Ethnomusicology at UCLA. I am looking forward to contributing to the elevation of intersectional perspectives, alternative histories, and diversifying the field of Early Music with the IDEA task force.

Nicky Manlove

they/them

I am the Community Engagement Director for the Tucson Girls Chorus, and previously served as the founding director of THEM Youth Ensemble, an LGBTQ+ and allied performing arts program, on the conducting faculty of the University of Arizona School of Music, and as the director of music at St. Mark’s Presbyterian Church in Tucson, AZ. I am also an active tenor with Boston-based chamber choir VOICES 21C.

Anna Porcaro

she/her

I began a life-long engagement with early music since a professor introduced me to the lute when I was an undergraduate music student. I perform on the lute, theorbo, and guitar and I earned a Ph.D. in musicology at the University of North Carolina. I currently am a full-time administrator at Wichita State University, and previously was a music faculty member at the University of Dayton. I serve on the Board of Directors for the Lute Society of America and until last year the Wichita Chamber Chorale. I’m working to promote diversity, equity, inclusion, and accessibility in music and higher education wherever possible.

Eduardo Quintela

I am a Bolivian musician who has been working for years on the recovery and revaluation of indigenous American musical heritage and the interpretation of the repertoire of ancient American music preserved by indigenous peoples, addressing the aesthetic syncretism that this presents. Today, I am the coordinator of the Bolivian Musical Heritage Rescue and Revaluation project for the National Symphony Orchestra of Bolivia and a researcher in early American music for UNIR University and the Syncretic Ensemble.

Guillermo Salas Suárez

he/him

I am a Costa Rican Baroque violinist, researcher, and arts administrator based in Columbus OH. I hold a Doctorate of Musical Arts from Case Western Reserve University and I perform with several period ensembles in the US and Latin America. I center my research on instrumental music from 18th-century Spain and its former colonies. A significant part of my work deals with bridging translation gaps between different musical communities, providing access to Historical Performance sources to English and Spanish speakers.

Byron Schenkman

they/them

I am a Queer Jewish keyboard player and scholar with a background in Historical Performance and a passion for connecting people through music. My more than forty CDs include recordings on historical instruments from the National Music Museum, Vermillion, and the Museum of Fine Arts, Boston. I can also be heard in numerous online performances. Formerly co-director of the Seattle Baroque Orchestra, I currently serve as Artistic Director for Sound Salon:
www.soundsalonmusic.org

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