Session recordings are available for on-demand viewing through October 29 for all who registered by October 22. Recordings are viewable by logging into the Summit via Hopin and navigating to the Replay area.
Friday, October 21, 2022
6:45-8:15pm ET – Welcome and Opening Keynote Panel
Welcome Message: EMA Executive Director David McCormick
Keynote Panel “Membership Organizations and the Future of Early Music”
Representatives from the American Recorder Society, Early Music America, Lute Society of America, Historic Brass Society, Historical Keyboard Society of North America, and Viola da Gamba Society of America will discuss the challenges and opportunities ahead for the fields of early music and historical performance practice.
Panel members: Carol Mishler (President, ARS), Derek Tam (President, EMA), Nancy Carlin (Administrator, LSA), Steve Lundahl (HBS, Technical Director and Board Member), Kathryn Cok (Vice President, HKSNA) John Moran (President, VdGSA)
Moderator: Karin Brookes (Administrative Director, Historical Performance, The Juilliard School)
8:30-9:30pm ET – Early Music Trivia Night
The team from Bach + Beethoven Experience bring their highly entertaining AND informative streaming trivia program to the EMA Summit. You’re welcome to play along with the special guests. (Announcement coming in October!)
Saturday, October 22, 2022
How All Early Music is Early Music
Panel members: Karin Cuéllar Rendón (moderator), Vidita Kanniks, Breana McCullough, Niccolo Seligmann.
We will begin our day of sessions with a panel discussion about the movement toward an expansive definition of early music and the application of historical performance practices.
11:30am-12:30pm ET (Concurrent Sessions)
Early Music Pedagogy New and Old and New
Presenters: Karen Cook and Adam Gilbert
In this panel, Dr. Karen Cook will discuss “Strategies for Teaching the Undergraduate Early Music Survey”: an overview of strategies I have taken in expanding upon Western music history textbooks to incorporate different geographical areas, musical contexts and practitioners, and higher-order musicological skills. Dr. Adam Gilbert will present “New Old Approaches to Teaching Mode and Counterpoint”: an argument for teaching the fundamentals of mode and counterpoint from the perspective of practicing fifteenth-century performer-composers. Individual descriptions are included in the attached document.
The use of Pipe and Tabor in 18th Century Peru
Presenter: Ellis Reyes
In this lecture-performance, I will present primary and secondary sources related to the use of the pipe and tabor in 18th century Peru and perform related musical examples. While scholars have often repeated the assertion that the pipe and tabor was solely introduced by the Spaniards, the existing sources tell a richer, more complex story of syncretism and resistance. Through the pre-Columbian use of wind and percussion instruments and the control exercised by Spain and the Church through the proliferation of European musical customs, the pipe and tabor reflect the development of the Mestizo people throughout Peru’s history.
Session materials presented in English and Spanish.
Ratios and Sound: Learning from the Monochord
Presenter: Kate McWilliams and Russell Murray
Throughout the Middle Ages, the monochord was the preferred tool for exploring the relationship between number and sound. Using simple ratios, medieval theorists laid out the placement of each note of the gamut upon the monochord. Today, teaching with the monochord allows the student to explore physical representation of abstract numerical concepts while sharing experiences with their medieval counterparts. Participants in this workshop will manually create the gamut in Pythagorean tuning using paper and a dividers or compass. The lesson module we present in this workshop can be used in your own classroom settings.
2:30pm-3:30pm ET (Concurrent Sessions)
Decenter, Decolonize, and De[access]ion: An Interdisciplinary Approach to the Future of Early Music
Presenter: Joyce Chen
The rising accessibility and exposure to early music—made possible by technology and higher education—can be viewed as threats to the insular world of early music built by elitism. How can we move forward in making the music more accessible if this industry was formed partly upon exclusivity? Recent efforts in addressing IDEA in early music suggests a nuanced, interdisciplinary approach to challenge the current narratives and practices of early music and HIP in North America. In my presentation, I will articulate a three-fold approach involving research, performance, and pedagogy.
Tumba Francesa – Dance of Resistance
Presenters: Catherine Turocy and Marcea Daiter
This session will look at the development of today’s Tumba Francesa in the clubs of Cuba back to their European roots in the 18th century contredanse where the choreography and music were transformed into a dance of resistance by the enslaved Africans, mocking their European masters. Today, in the form of Tumba Francesa, UNESCO has inscribed the dance in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity. We hope this power point presentation with photos and video clips will stimulate understanding and discussion on our shared heritage.
4:00pm-5:00pm ET (Concurrent Sessions)
Bridging the Gap: Pedagogical Initiatives and Accessibility in Early Music
Panel: Dr. Alice Chuaqui Baldwin, Dr. Ki Fung Yeung, and Dr. Curtis Pavey
Moderator: Dr. Heidi Tsai
In this panel session, four early-music educators will share different projects designed to reach and inspire future early musicians in both academic and non- academic settings through technology, outreach, and new curricula. Besides discussions of these projects, panelists will be asked to share insights about outreach, early-music pedagogy, accessibility, and attracting the next generation of historically informed musicians. Through this discussion, listeners will be invited to consider future pedagogical initiatives that can advance the early music field.
Rescate del Archivo de Música Misional de Covendo del Pueblo Indígena Moseten
Presenter: Alfonso Eduardo Quintela Gonzales
En la amazonia boliviana dentro del territorio indígena Moseten, en la ex-misión franciscana de Covendo (que en idioma indígena significa Lengua de Tierra), se conservó de forma escrita y oral la tradición de la Solfa, la música de la época misional, la capilla musical y la copia de partituras. Pero en las últimas décadas, la re-significación ritual de la música, la quema de los instrumentos y la pérdida de su patrimonio documental de partituras marcó un dramático cambio en sus costumbres. Esta investigación pretende partiendo de registros fotográficos hoy reconstruir y devolver su herencia musical al pueblo indígena Moseten.
5:30pm-6:30pm ET (Concurrent Sessions)
Naaxkohmaak Osowheekuneenootuy 331 (Singing Box 331)
Presenter: Sarah Eyerly
This lecture-presentation will discuss an ongoing project by faculty and students at Florida State University and IUPUI to re-sound Mohican-language hymns from the eighteenth-century mission records of the Moravian Church in three different modes in collaboration with members of the Stockbridge-Munsee Band of Mohican Indians, a Mohican descendant community. Historical musical repertories like the Mohican-Moravian hymns reveal the fluidity of musical practices across centuries, and the necessity of collaboration in sounding them and in appreciating a fuller range of their meanings today, standing as an aural testimony to the rich and multifaceted meanings that historical musical documents, and the practice of “early music” itself, may represent.
Exploring a new dance notation system for musicians through experimentation and audio-visual analysis
Presenter: Aimee Brown
This project combines two innovative methods for improving musicians’ and dancers’ experience of performing eighteenth-century music – communication of dance through a notation system and audio-visual analysis of musical performance. Through experimentation, I found that when given a simplified dance notation, musicians who specialize in historical performance change their approach to articulation, accent, and tempo. I imported recordings from the experiment into Melodyne, creating note shape, intensity and tempo visualizations. In this presentation, I use one piece, Sarabande pour une Femme, to show how objective data from Melodyne leads to an understanding of the influence that dance has on musical performance.
Closing Remarks, Annual Awards Ceremony, and Emerging Artist Showcase Digital Premiere
EMA Board President Derek Tam will offer closing remarks as the Summit draws to a close, immediately followed by the 2022 Annual Achievement Awards Ceremony.
Joan Benson Clavichord Award
Recipient: Carol lei Breckenridge
Thomas Binkley Award
for outstanding contributions to the study and performance of early music by a leader of a collegiate early music ensemble
Recipient: Anne Azéma
Laurette Goldberg Award
for outstanding outreach in the field of early music
Recipient: Debra Nagy
Howard Mayer Brown Award
for lifetime achievement in the field of early music
Recipients: David Douglass & Ellen Hargis
Digital Premiere of EMA’s 2022 In-Person Emerging Artists Showcase
A premiere screening of the live concert recording from the 2022 Emerging Artists Showcase, recorded in June 2022 as part of the Berkeley Festival & Exhibition.
Julia Bengtsson (choreography & dance), New York, NY, & Rocío López Sánchez (cello), San Francisco, CA
Patricia Garcia Gil (fortepiano), Greensboro, NC
Pauline Kempf (violin), San Francisco, CA