Early Music in the 21st Century

How can the early music movement move into the future? Could this be a transformative moment for change and growth? In this collection of essays, a diverse group of young and established voices from across the globe offers exciting, positive, and challenging thoughts about how we can reimagine the early music movement in this new century.

Nicholas Kenyon's preface is followed by sixteen chapters written by performers, scholars, and pedagogues. They introduce new ways to conduct research, discuss various performative issues, offer numerous educational directions and exciting technological tools, and-perhaps most importantly-suggest ways we can engage with the present as well as with the past. These chapters include material that has been translated into English for the first time and are presented under Methodological Viewpoints, (Non) Historical Instruments, Pedagogical Perspectives, Transformative Technologies, and Revisiting History. An accompanying website provides additional audio and video material.

This post-revival period for the early music movement is crucial for its enduring success. How can a revival movement that looks to the past for inspiration engage with today's social and technological concerns? Early Music in the 21st Century asks important questions for everyone interested in early music—performers, teachers, academics, instrument makers, historians, and music lovers. By encouraging a return to the revolutionary spirit of the pioneering generations, this book offers a plethora of positive possibilities for the future of early music.

Mimi Mitchell enjoys a dual career as a musicologist and a historical violinist. She was co-curator of the symposium The Historical Violin (STIMU, Utrecht Early Music Festival, 2019) and curated the conference Early Music in the 21st Century (Conservatorium van Amsterdam, 2021). She has contributed chapters to Writing about Contemporary Musicians: Promotion, Advocacy, Disinterest, Censure and the Kunsthistorisches Museum Vienna's The Collection of Historic Musical Instruments: The First 100 Years. She is a Masters Research Coordinator and Senior Lecturer at the Conservatory of Amsterdam and works internationally as a speaker, teacher, performer/conductor, and coach.

Foreword: Polarization, Reintegration, and Diversity
Sir Nicholas Kenyon

1. Introduction
Mimi Mitchell
Part I: Methodological Viewpoints
2. Early Music: Views from Ethnomusicology
Caroline Bithell
3. Renewing Historical Performance through an Embodiment of Historical Acting Techniques
Jed Wentz
4. Historical Interpretation Research-New Sources and Methodologies
Kai Köpp
Part II: (Non) Historical Instruments
5. Making (Faking?) Early Music
Jeremy Montagu
6. Plastic Fantastic?
Fiona Brock, Andrew Hughes, and Jeremy Uden
7. Modern Versus Historical Instruments: International Bach Competition Leipzig
Mimi Mitchell
Part III: Pedagogical Perspectives
8. Professionalizing Historical Performance: The Past and Present of Early Music Education in Am-sterdam
Kailan Rubinoff
9. "HIP for All" or Specialized Training: Diverse Missions for Early Music in Higher Education
Kelly Landerkin and Claire Michon
10. Nows, Thens, and Truths: Attending to the Present in Performing the Past
Jonathan Impett
11. Towards a More Inclusive Early Music
Deanna Pellerano
Part IV: Transformative Technologies
12. Early Music and the Paradox of Technology
Alon Schab
13. "Nutrition in an Age of Diet Soft Drinks": the Utopa Baroque Organ in Amsterdam
Hans Fidom
14. Developing Virtual Acoustic Systems for Use in Early Music Research
Eoin Callery and Jonathan Abel
Part V: Revisiting History
15. The New Dutch Recorder Sound of the 1960s
Robert Ehrlich
16. Early Music in the Latin Americas: An Alternative Scene
Melodie Michel
17. Remixes and Radical Revivals: Baroque Opera Production and the Opera Wars
Caitlin Vincent

Index