Pay-What-You-Can: The Future For Early Music?

Included in the Full Issue

  • EMA Awards 2023 by Anne E. Johnson
  • Bach of the Bowery: Kapellmeister Doug Balliett by Emery Kerekes
  • Is Pay-What-You-Can the Future for Early Music? by Ashley Mulcahy
  • Champagne Flutes: Newly Discovered Flute Music from Marin Marais by Michael Lynn
  • 2023 EMA Summit in Boston: A Look Back
  • From Scratch: 25 Years of (Re-)Building the Atlanta Baroque Orchestra by Mark Gresham
  • Guest Editorial: An Early-Music Climate Activist on Disrupting Performances by John Mark Rozendaal
  • From the Executive Director: Radical New Paths
  • EMA Courant: News from Around the Early-Music Community by Paulina Francisco
  • Canto: We Have the Technology by Ian Howell
  • Recording & Book Reviews
  • EMAg Puzzle by Joshua Kosman
  • Musings: Are We the Grown-Ups? by Thomas Forrest Kelly

Current EMA members can read this and previous issues of EMAg.
Please login or become a member today!


Is Pay-What-You-Can the Future for Early Music?

Celebrating Early Music Month, we look into a new trend seen from coast to coast: a Pay-What-You-Can ticketing model. This scheme comes with high hopes for attendance and diversity but inconclusive results. This article first appeared in the January 2024 issue of EMAg.

Bach of the Bowery

As a composer, teacher, and America’s leading Baroque bassist, Doug Balliett is devoted to radically authentic music-making. He and his all-star circle of collaborators question the notion that ‘historically informed’ ensembles should only perform historical music. This article was first published in the January 2024 issue of EMAg.

Champagne Flutes: Newly Discovered Music by Marin Marais

For Early Music Month, we look into the core of the Baroque. An auction of books from an old chateau in the Champagne countryside led to a big discovery: unknown flute music by Marin Marais, written in an elegant hand. It’s a find of huge importance to the Baroque flute repertoire. This article was first published in the January 2024 issue of EMAg.

Learning from Trailblazers in Historical Performance

The modern historical-performance movement now has its own traditions, habits, standard repertoire, and ancestors. For Early Music Month we look into EMA’s online series ‘Trailblazers in Historical Performance.’ As Thomas Forrest Kelly writes, ‘to hear their various stories and learn of their attitudes and experiences was revelatory.’

An Early-Music Climate Activist on Disrupting Performances

Guest editorial: We are in the midst of a global mass extinction caused by a rapid change in climate. The scale of these problems means that the crisis cannot be addressed without action from the world’s most powerful governments — and they have utterly failed to respond. It’s an attitude of enjoying order (and short-term profits) more than pursuing justice. This comes despite years of scientists’ and citizens’ good-faith efforts to work within the system. To shake our friends’ complacency was our goal in disrupting the Met Opera… 


Canto: We Have the Technology

Even before the ubiquity of Zoom, we were all conditioned to think that in-person musical interactions are always superior to anything online. Always. But what if a musician can’t spend the money or time to connect in person? The author argues that newer technology allows us a more nuanced approach: we can pick solutions that are financially, logistically, and artistically preferable.

Scroll to Top