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Early Music is a stimulating and richly illustrated journal, and is unrivalled in its field. Founded in 1973, it remains the journal for anyone interested in early music and how it is being interpreted today. Contributions from scholars and performers on international standing explore every aspect of earlier musical repertoires, present vital new evidence for our understanding of the music of the past, and tackle controversial issues of performance practice.
Each issue is beautifully illustrated and contains a wide range of articles on performance practice, iconography, sources, instruments and many other aspects of the historical context for a given work or repertory. Some issues are dedicated to a particular theme to mark the anniversary of a composer or to explore an otherwise uncharted territory, such as the music of the New World or the early musical traditions of non-Western cultures.
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Volume 32, Number 2, May 2004Table of Contents
- New light on the old bow--1
- pp. 286-301
- Monteverdi: onwards and downwards
- pp. 303-317
- Medieval performances
- pp. 319-320
- The guitar in its fullness
- pp. 320-322
- Biblical instruments
- pp. 322-326
- Words without music in the German Baroque
- pp. 326-327
- Small-town Spain
- pp. 327-328
- Early America and Cuba
- pp. 328-333
- Balancing a catalogue
- pp. 333-334
- Ludford and Croce
- pp. 335-336
- Seicento opera edited
- pp. 336-338
- Music for plucked strings
- pp. 339-341
- Biber's Mystery Sonatas
- pp. 341-343
- Renaissance miscellany
- pp. 343-344
- Two Trasuntino harpsichord copies
- pp. 345-346
- Pitch in eary Anglican church music
- pp. 348-349
- Performing pitch
- p. 349
- Bach's singers
- p. 350
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Copyright © 2004 Oxford University Press.
