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| Early Music (journal) | |
|---|---|
| Title | Early Music |
| Discipline | Musicology |
| Language | English |
| Abbreviation | Early Music |
| Publisher | Oxford University Press |
| Country | United Kingdom |
| History | 1973–present |
| Frequency | Quarterly |
| Issn | 0306-1078 |
Early Music (journal) is a peer-reviewed periodical focusing on performance, scholarship, and pedagogy connected to historical practices related to Western Renaissance music, Baroque music, and Medieval music. Established in the early 1970s amid conversations at institutions such as the Royal College of Music, University of Oxford, and University of Cambridge, the journal has served scholars, performers, and librarians from the British Library to the Library of Congress. Its pages have documented work by figures associated with ensembles like The English Concert, The Tallis Scholars, The Sixteen, English Baroque Soloists, and scholars from centers including the Royal Holloway, King's College London, and the University of York.
Launched in 1973 during a resurgence linked to festivals such as the Greenwich Early Music Festival and venues such as Wigmore Hall, the journal emerged alongside performers including David Munrow, Christopher Hogwood, Gustav Leonhardt, Nikolaus Harnoncourt, and Jordi Savall. Early editorial leadership drew on networks at the Early Music Consort of London, the Royal Academy of Music, and the Consort of Musicke. In the 1980s and 1990s the journal responded to scholarship from the Dolmetsch family archive, research at the Institut de Musicologie de Paris, and projects funded by bodies like the Arts and Humanities Research Council and the Leverhulme Trust. Editorial transitions reflected trends charted at conferences such as the International Congress on Medieval Studies, the Society for Musicology in Ireland, and meetings of the American Musicological Society.
The journal covers research on sources such as the Eton Choirbook, the Old Hall Manuscript, the Hallische Händel-Ausgabe, and the Cancionero de Palacio, and editions arising from projects like the Stainer & Bell editions and the Neue Mozart-Ausgabe. Articles treat repertories associated with composers including Guillaume de Machaut, Josquin des Prez, Orlando di Lasso, Claudio Monteverdi, Heinrich Schütz, George Frideric Handel, Johann Sebastian Bach, Henry Purcell, and Antonio Vivaldi. It publishes studies on instruments and builders such as Antonio Stradivari, Jacob Stainer, Gasparo da Salò, and topics linked to performances at institutions like St Martin-in-the-Fields, Westminster Abbey, and the Sistine Chapel. Review sections critique recordings by labels such as Decca Records, Harmonia Mundi, Archiv Produktion, DG Deutsche Grammophon, and Hyperion Records, as well as editions from Oxford University Press and Brepols.
An editorial board drawn from universities including the University of Cambridge, the Università degli Studi di Bologna, the Universität Leipzig, the University of California, Berkeley, and the University of Toronto oversees submissions. Editors have included scholars connected to the Royal Music Association, the American Musicological Society, the International Musicological Society, and the Society for Seventeenth-Century Music. Peer review follows standards comparable to those of journals such as Early Music History, Musica Disciplina, Journal of the American Musicological Society, and The Musical Quarterly, and editorial policies reflect professional norms established by the Committee on Publication Ethics and university presses like Cambridge University Press.
Published quarterly by Oxford University Press, the journal is distributed to libraries and subscribers worldwide, including holdings in the Bibliothèque nationale de France, the Staatsbibliothek zu Berlin, the Vatican Library, and the New York Public Library. Back issues form part of digital collections maintained by platforms similar to JSTOR, Project MUSE, and publisher archives, and the journal appears in bibliographies produced by centers such as the RISM and the International Association of Music Libraries. Institutional subscriptions include conservatories such as the Conservatoire de Paris, the Juilliard School, and the Royal Conservatoire of Scotland.
The journal has influenced performance practice debates tied to figures like Arnold Dolmetsch, Charles Burney, Francesco Geminiani, John Playford, and Thomas Tallis, and informed editions used by ensembles performing at festivals like the Aix-en-Provence Festival, the Lucerne Festival, and the Aldeburgh Festival. Its articles are cited in monographs published by Cambridge University Press, Oxford University Press, Routledge, Brepols, and Boydell & Brewer, and by doctoral research at institutions such as Princeton University, Harvard University, Yale University, University of Chicago, and Columbia University. Reviews and articles have prompted discussions in media outlets including The Times, The Guardian, The New York Times, and specialist outlets like Gramophone and BBC Music Magazine.
Indexed in major databases and catalogues alongside journals such as Music & Letters, Tempo, Notes (journal), and Early Music History, the journal appears in indexing services used by scholars at the Union Catalogue of Italian Libraries, the Dutch Royal Library, and the National Library of Australia. Abstracting coverage aligns with directories maintained by the European Reference Index for the Humanities, the Scopus database, and national bibliographies such as the British Library Integrated Catalogue.
Category:Music journals Category:Publications established in 1973