Early Music (journal)
The year 1973 marked the birth of Early Music, a journal created by John M. Thomson during a period when historical performance was gaining momentum. Thomson, a New Zealand musicologist who spent decades working in London, launched the publication to bridge the gap between academic study and active musical practice. He sought to connect scholars with mainstream performers like David Munrow, hoping to foster a unified community around early music. The journal emerged as part of a broader revival movement that encouraged musicians to explore repertoire from centuries past using period instruments and techniques. Oxford University Press published the quarterly issues, though Thomson later described his relationship with the press's music department as uneasy. He felt that control by the university's music division stifled the spirit of the project, calling it "spiritual death" at one point. Despite these tensions, the journal found its footing and began serving a growing audience of researchers and practitioners.
John M. Thomson served as the founding editor until he stepped down, passing the role to Nicholas Kenyon and then Tess Knighton. These transitions reflected changes in the field while maintaining the journal's core mission of connecting scholarship with performance. Today, three co-editors guide the publication: Alan Howard, Elizabeth Eva Leach, and Stephen Rose. Their collective leadership ensures continued relevance across generations of early music enthusiasts. Each editor brings distinct expertise to the table, helping shape the direction of future issues. The succession of editors demonstrates how the journal has adapted over time without losing its original purpose. This continuity allows Early Music to remain a trusted resource for both new scholars and established professionals in the field.
The journal primarily focuses on medieval, Renaissance, and Baroque periods, aligning with its name and central theme. Occasionally, articles explore Classical and Romantic eras when they intersect meaningfully with earlier traditions. Quarterly issues typically contain between five and ten scholarly pieces alongside reviews of books, recordings, and musical works. Librarian Alan Karass observed that the content remains accessible to informed amateurs while retaining academic rigor. This balance makes the journal unique among specialized publications focused on historical music. By covering multiple centuries, it offers readers a broad yet coherent perspective on the evolution of Western art music before 1800. The editorial team carefully selects topics that reflect current research trends and practical interests within the community.
Alan Karass, a librarian familiar with the publication, noted that one distinguishing feature of Early Music is its extraordinary visual beauty. Each issue frequently includes a variety of visual art designed to accompany the written content. These images range from manuscript illuminations to engravings and photographs of instruments or performance settings. The integration of visuals enhances reader engagement and provides context beyond what text alone can convey. Unlike many academic journals that prioritize minimal design, this publication treats imagery as essential to understanding the subject matter. The result is a physically attractive object that appeals not only to scholars but also to collectors and performers who value aesthetic presentation. Such attention to detail reinforces the journal's reputation for excellence in both content and form.
Specific thematic issues have been dedicated to individual composers such as Guillaume de Machaut and Johann Sebastian Bach. Volume 5, Issue 4 explored Machaut's contributions, while volume 13, Issue 2 focused on Bach's work during his lifetime. Additional special editions examined Baroque theatre through volumes 17, Issue 4 and 18, Issue 1, and dance in volume 26, Issue 2. These concentrated explorations allow deeper analysis than standard articles provide. They often bring together multiple perspectives on a single topic, offering comprehensive insights into particular aspects of early music culture. By dedicating entire issues to specific themes, the editors create opportunities for sustained scholarly dialogue around key figures and practices. This approach has helped establish Early Music as a leading voice in its field since its inception.
Continue Browsing
Common questions
When was the journal Early Music founded and by whom?
The journal Early Music was founded in 1973 by John M. Thomson, a New Zealand musicologist based in London.
Who are the current editors of the journal Early Music today?
Three co-editors currently guide the publication: Alan Howard, Elizabeth Eva Leach, and Stephen Rose.
What time periods does the journal Early Music primarily cover?
The journal focuses on medieval, Renaissance, and Baroque periods with occasional articles exploring Classical and Romantic eras that intersect with earlier traditions.
How often is the quarterly issue of Early Music published each year?
Oxford University Press publishes four issues annually as part of its quarterly schedule for the journal.
Which specific composers have received dedicated thematic issues in Early Music?
Specific thematic issues have been dedicated to individual composers such as Guillaume de Machaut and Johann Sebastian Bach.