Early Music Month (EMM) is a national, grassroots campaign sponsored by Early Music America and designed to raise awareness of early music each March throughout the North American music community. EMM seeks to connect enthusiasts, performers, presenters, scholars, builders, students, venues, and more to bring early music to its widest audience ever.


How can I get involved?

Anyone enthusiastic about raising awareness of early music can become an EMM Partner for free and join nearly 400 individuals and organizations who have already committed to celebrate Early Music Month in their own communities.

Visit our resources page for ideas about how you can join the Early Music Month celebration, how to list your EMM event, and how EMA can celebrate YOU!


Support the Future

Early Music America provides funding for members to enhance their skills at early music workshops throughout North America and helps pay for musicians to attend the Young Performers Festival and Emerging Artists Showcase. Each year, we receive many, many more qualified applicants than we can fund. 

Help EMA provide more artistic development opportunities to musicians of all ages by making a donation to the #WeAreEarlyMusic campaign during Early Music Month.


Early Music Month Daily Musical Calendar

Selections submitted members of the EMA Board, Emerging Professional Leadership Council, and Staff. Come back every day during March for more!

Robert Carver: O bone Jesu a19
by Steven Plank, March 3, 2020

I have always loved Carver’s nineteen-voice motet for its easy navigation between intricately decorative figures and large-scale tutti acclamations that are both grand and serene at the same time. The soaring treble lines, the wide range in general, and the largeness of the “canvas,” easily remind one of the earlier Eton Choirbook . . . obviously Carver’s Scotland was no stranger to sonic display that so graced England in an earlier generation.

 

Louis Couperin: Suite de Pièces in C Major: Passacaille

by Derek Tam, March 2, 2020

One of the first composers I encountered when I first began studying the harpsichord was Louis Couperin, the uncle to François and a magnificent musician in his own right. When you play Louis’s music on a harpsichord, you understand why the instrument exists. Of his oeuvre, one of my particular favorites is the Passacaille from his C major suite. Once you hear the refrain, you cannot forget it: the richness and inevitability of the repeating harmonic progression seduces your ears, and the variations build in intensity until the floor drops out from under you in the final variation.

Anonymous: Choral Stichologia (Palaion)

by Emily Lau, March 1, 2020

This project of Cappella Romana is one of the milestone-project of technology and the arts in the last decade. By mixing modern audio technology by Stanford scientists, and in-depth scholarship by leading Byzantine scholars, modern musicians are able to recreate/reimagine the sound of the Hagia Sofia today. I was a part of the recording and performance of this project during the last presidential election. Being in a room with my colleagues, working on this album, focused on the beauty and the good, gave us the needed shelter and quietness to sort out our own complicated feelings about the politics of the day.

View All EMM Musical Calendar Entries


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