Sphinx Performance Academy Taps Early Music

Sphinx Performance Academy Taps Early Music

Gail O’Neill
The Sphinx Performance Academy introduces Black and Latine students (age 11-17) to period instruments and historical performance in an intensive, two-week summer camp. EMA is assisting the project with scholarships and free memberships.
CANTO: Finding the Baroque in Carnatic Classical Music

CANTO: Finding the Baroque in Carnatic Classical Music

Maya Kherani
European Baroque and Indian classical have freedom within structure. As a singer you have so much agency. You start with melodic brilliance, and then the singer makes their mark on the composition through their use of ornamentation.
The 10 Hosting Commandments

The 10 Hosting Commandments

Toni Codinas
Traveling musicians (and the people who host them) often have great experiences from the stay. But sometimes the visit goes sour. One early-music host shares his tips for making a home stay easy, comfortable, and low-stress for everyone.
Rethinking the Harpsichord: Lillian Gordis in Conversation

Rethinking the Harpsichord: Lillian Gordis in Conversation

Parker Ramsay
Lillian Gordis has garnered high praise for her imaginative and substantive performances and recordings. In a wide-ranging discussion, Gordis and Ramsay talk about her precocious drive to make music on the harpsichord.
EMA's Top 10 Most Popular of 2022

EMA’s Top 10 Most Popular of 2022

As 2022 comes to a close, check out EMA's 10 most popular features and reviews from the world of early music. For more news, profiles, and ideas, subscribe to EMA's weekly E-Notes newsletter.
Early to Rise: Multi-instrumentalist Peter Lim

Early to Rise: Multi-instrumentalist Peter Lim

Stephanie Manning
Meet Peter Lim. In concert, he effortlessly switches between different families of instruments, from the harpsichord to Baroque oboe to recorders to the voice and more. A colleague calls him a 'once-in-a-generation talent'
How Goes Gesualdo?

How Goes Gesualdo?

Parker Ramsay
In some repertoire, the gulf between singers and instrumentalists is narrowing. The author calls it 'among the more exciting developments in historical performance,' which might reshape our understanding of Italian Renaissance music.
Making a Parody of Bach, No Kidding

Making a Parody of Bach, No Kidding

Jacob Jahiel
The so-called parody process requires a great deal of historical knowledge but also a willingness to fill in the gaps. Performer-composer Jessica Korotkin, a Baroque cellist, combines historical scholarship with her own ingenuity for a new set of Bach-inspired cello suites.
Conference Report: ‘Black and Indigenous Sounds in the Early Atlantic World’

Conference Report: ‘Black and Indigenous Sounds in the Early Atlantic World’

Miguel A. Valerio
Last month, scholars studying facets of early Black and indigenous sounds came together to share their research and ask a few big questions. Is this a new, interdisciplinary field of study, where sound is central to help understand life, culture, literature, and music?
Calling All Medievalists

Calling All Medievalists

EMA
A doctoral student at the Sorbonne is studying acoustic heritage related to music by the Notre-Dame School of composers, part of a larger project on the sonic history of Notre-Dame Cathedral. This is an invitation to participate in a web-based study that examines the reception of medieval vocal music in varying performance spaces.

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