Early Music (journal)

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Early Music broadly covers topics relating to its namesake period, namely the medieval, Renaissance and Baroque periods. [2] Less often, topics from the Classical and Romantic periods are including as well. [2] The journal published quarterly, featuring 5–10 articles, alongside reviews of books, music and recordings. [2]

The librarian Alan Karass notes that the "articles are scholarly but not academic in nature". [2] He further remarks that "a distinguishing feature of Early Music is its extraordinary visual beauty"; the journal frequently includes a variety of visual art to accompany its topics. [2]


Early Music was founded in 1973 by the New Zealand musicologist John Mansfield Thomson, who worked for many decades in London. [1] He was a leading figure in the emerging early music revival, and aimed to aimed to unite early music scholarship with mainstream musical acts such as David Munrow. [3] Published by Oxford University Press (OUP), Thomson worked alongside the OUP's Alan Franks, [4] but characterized his relationship with the OUP as uneasy, he described control of the magazine by the music department as "spiritual death". [5]

The journal has devoted issues to specific topics, such as the composers Guillaume de Machaut (5.4) and Johann Sebastian Bach (13.2), as well as Baroque theatre (both 17.4 and 18.1) and dance (26.2). [2]

Thomson was the founding editor, followed by Nicholas Kenyon and Tess Knighton. [6] The current co-editors are Alan Howard, Elizabeth Eva Leach and Stephen Rose. [7]

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Anthony Jennings was a New Zealand harpsichordist, organist, choral and orchestral director, and academic. A proponent of the early-music movement, he advocated for authentic performing practices. He made several recordings of baroque music on the harpsichord. Musicologist J. M. Thomson wrote, that Jennings's "musical skills were wide-ranging and supported by a charismatic personality. A virtuoso organist, his performances of Romantic and contemporary repertory are remembered for their technical brilliance and musical power, but his special contribution was in the area of Baroque performance."

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  1. 1 2 Lodge 2001.
  2. 1 2 3 4 5 6 7 Karass 2019.
  3. Barrett 2005, p. 120.
  4. Phillips 1999.
  5. Lane 2017.
  6. Kennedy & Bourne 1996, p. 218.
  7. "Editorial Board". Oxford University Press . Retrieved 18 March 2024.