Asserting Her Voice

The story of Angélique Diderot, talented as a keyboardist and composer, involves a famous father, a distinguished teacher, and a quirky treatise. It’s a glimpse into how women in early modern Europe broke a taboo and learned to compose.

Revivals Go ’Round and ’Round

‘Early music’ gets revived anew every few generations. What can an earlier revival teach us about our current revival;s method and aims?

The Many Faces of ‘Lisette’

It’s a poem, a song, a history across geographies. The Lisette Project uses an old Haitian Creole song to explore questions of political power and cultural equity. It’s part of a ‘fabulous, curious, and sometimes problematic mishmash’ from both sides of the Atlantic.

Art of the Day Job

If you earn a living away from music, are you still a professional musician? There are many paths to a balanced career and life, but singers are often reluctant to speak about them.

These Days, What Isn’t HIP?

In this lively essay, the author argues that the old attitudes toward historically informed performance are rapidly coming apart. Today, HIP is becoming its own style, for music both old and brand new.

A Star in the Medieval Firmament

An unsung star of early music, Shira Kammen refreshes medieval music and everyone around her. Kammen has inspired and coached so many budding medievalists that she’s already a legend.

Mentors in Early Music

Jolle Greenleaf, artistic director of TENET Vocal Artists, knows from experience that mentors are an essential element to nurture the early-music community. Greenleaf writes about why and how she started the Talks with TENET mentorship program.

We’re Living in Taruskin’s World

MUSINGS: Richard Taruskin’s approach to music as an essential part of society, culture, and politics will forever affect our thinking. “I remember being consulted by the publisher about the advisability of publishing ‘Text and Act,’ and remember advising then not to publish…”

Women Composers and the Risks of Authorship

Celebrating International Women’s Day: The careers of Viennese composer Marianna Martines and Roman composer Maria Rosa Coccia mirrored one another in key respects. But the differences are fascinating, and revealing: While one was born into privilege and carefully cultivated her public image, the other seemed to suffer from fewer social connections and a more bold approach to her public persona.

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