Early Music

Papers
(The median citation count of Early Music is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2021-06-01 to 2025-06-01.)
ArticleCitations
Frescobaldi and friends2
François de Fossa, Louis Picquot and the transmission of Luigi Boccherini’s guitar quintets2
‘JOY to great Caesar’: popular songs on Farinel’s Ground in late 17th-century England2
King George III and the ‘Smith Collection’ of Handel manuscripts1
Early keyboard carnival1
Poor Clares, rich in music: unique polyphonic Benedicamus Domino settings from southern Polish convents in the late 13th and early 14th centuries1
New horizons for wind and brass1
Freynshe fare1
English thinking about music0
Josquin at 5000
Abstracts0
Abstracts0
Music and love in Sigismondo Fanti’s Triompho di Fortuna (1527)0
Salzburg before Mozart0
Benedicamus Domino: delight in singing praise to God at Las Huelgas of Burgos0
Sounds of Power0
Music and Shakespeare0
The evolution of Early Music0
Music, gender and the erotic in Italian visual culture of the 16th century: introduction0
The ‘war of images’ between Louis XIV and Leopold I: Jean-Baptiste Lully’s music and Il pomo d’oro in Vienna in 16670
Early Music and materiality—10
Old music, new titillations0
Jakob Adlung’s ‘Anweisung zum Fantasiren’ (c.1725–7): edition, translation and introduction0
Abstracts0
The guitar in imperial Rio de Janeiro: 
a fashion among the elite0
Echoes behaving badly? Rhetorical and acoustic experimentalism in the echo fantasias of Jan Pieterszoon Sweelinck and his contemporaries0
‘Your Muse Remains Forever’: memory and monumentality in Elizabethan manuscript partbooks0
The municipal company of musicians of Medina del Campo, 1566–15980
Virtual Baroque in Birmingham0
Northern souls0
‘Triumph, victorious Love’: Le Triomphe de l’Amour (1681) and English dramatic opera0
Fundamental and ornamental: historical harps in Europe0
New interpretations of Paganini, Schubert, Schumann and Brahms0
The Wartburg gittern: new insights0
Musical life and civic identity in Renaissance France0
Bruce Wood (1945–2023)0
Sounds powerful0
Female-voice song before 15000
A Lullian divertissement for King William III at Kensington in 16980
The Earl of Manchester and opera in London0
A musical amuse-Buch0
Pantheon of plenty0
Musical sources: 70 years of RISM0
The Chevalier de Quincy: an officer and his musical passe-partout0
Elegant anthems by Thomas Tallis0
Violin-making in Rome, 1700−1830: new archival investigations0
Ubiquitous music in Newcastle0
A musical-visual frontier?0
Benedicamus Domino as an expression of joy in Christmas songs of the Devotio moderna0
Singing nuns? More on the story of Verona 7610
An embarrassment of polyphonic riches0
The organ in Jewish culture during the long Renaissance0
Dido Compar’d0
Clavichord, harpsichord, forte piano and organ0
Learning from period pianos0
‘As unknown to me as a Bohemian village’: a retrospective of Czech Baroque music in recordings0
Abstracts0
Music on Shakespeare’s stage0
Restoring Obrecht’s Missa Scaramella0
Threads of Renaissance gold0
Dido restor’d0
Monuments and treasure chests0
Preluding on the harp in the late 18th and early 19th centuries0
Editorial0
Unmeasured preludes for the French Baroque guitar0
Abstract0
The migration and transformation of the oud0
Musical instruments in the Venetian home: contextualizing Marietta Robusti’s self-portrait0
Against the odds: pandemic early choral music0
Catholic Music in Protestant Strasbourg0
Editorial0
Frescobaldi at the Ospedale di Santo Spirito: a portfolio career in 17th-century Rome0
Correction to: Bach returns to Cambridge0
Sacred music from within and beyond the liturgy0
Gerrit van Honthorst’s guitar: tracing 
the features of an instrument reappearing 
in the works of the Utrecht Caravaggist0
Furor teutonicus0
Early Music and materiality—20
Byrd’s Fragments0
Terence Best (1929–2024)0
Abstracts0
Bach’s keyboard concertos on harpsichord and piano0
Lute and theorbo toccatas of seicento Italy: the historical significance of a sidelined repertory0
Will wonders never cease? The viola bastarda at the Ferrarese court0
Tracing Obrecht’s musical career0
Listening to the flute0
Experience, emotion and sound in a medieval mainstream: recording the trouvères0
Editorial0
Aesthetic expression an das Clavier: performing character in the keyboard music of C. P. E. Bach0
Will she or won’t she? The ambivalence of female musicianship in two paintings by Bernardino Licinio (1489–1565)0
A clear catalogue for Mozart0
Relics of 13th-century Paris0
Beguiling transformations, from Bach and beyond0
An alluring sight of music: the musical ‘courtesan’ in the Cinquecento0
Reassessing the development of cori spezzati: new discoveries in Bologna0
English minstrelsy0
An ingenious musical machine from the imagination of Leonardo da Vinci0
Music and national identity in early modern Rome0
Repopularizing ‘popular opera’0
Music for St Cecilia’s Day from Purcell to Handel0
The Nevell manuscript: new evidence of 17th-century gentlewomen’s music book-sharing and education at exiled English convents0
Emperors, ambassadors and opera reviews in 17th-century Venice: an annotated libretto of Cesti’s L’Argia (1669)0
Editorial0
Spatial dispositions in English instrumental consort music, c.1575–1650: a further examination0
A new perspective on opera’s ‘critical decade’ in London0
Early musicking in its own words and images0
A student guide to medieval song0
Editorial0
Preludes to friendship: improvisatory instrumental souvenirs in 19th-century autograph albums0
Medieval and Renaissance Music Conference at 500
Coloured for sight and sound0
Music, liturgy and confraternities0
German keyboard music from Praetorius to Haydn0
Adapting Lully for the London stage: reading a chaconne of 16980
Transcending the body: music, chastity and ecstasy in Reni’s St Cecilia playing the violin0
‘Magnificence of promises’: novelty instruments in concert in Britain, c.1750–18000
Abstracts0
Editorial0
Editors’ note: ‘A response to Joshua Rifkin (“Singing nuns? More on the story of Verona 761”)’0
Arnaud du Sarrat and the international music trade in Halle and Leipzig c.17000
Musical culture in early modern Ferrara0
‘Ah Heav’n! What is’t I hear?’: Purcell on disc0
Aspects of early English music0
Performing medieval narrative and song0
‘For the Lovers and Practitioners of [English] Consort [and Court]-Musick’0
From Antico to Zipoli: Listening to three centuries of Italian keyboard music0
Correspondence0
On screen and stage: a performer’s perspective on life in early music, 2020–210
The Fashioning of French Opera (1672–1791): Identity, Production, Networks0
Artificial neural networks and medieval music0
New light on the 17th-century English cathedral wind band: a (fragmentary) Canterbury tale0
Recordings for all seasons0
Handel’s harpsichords revisited Part II: Handel’s domestic harpsichords0
Singers on the streets0
Music grotesque and sublime0
Music for keyboard and consort0
Instrumental sounds of the 18th century0
Five Masses and a feast0
Editorial0
Remaking early music history0
Eighteenth-century music from Albinoni to Zyka0
Nec doctum satis: humanist translation and English recreational song0
Baroque musical offerings0
John Sheppard (c.1514–1558/59) at Oxford and the Chapel Royal: exculpation and clarification0
Invigorating Baroque explorations0
Lavish sounds of early modern Italy0
Miscellany on the London stage0
A musical farewell in bi-confessional early modern Austria0
The wreck of the Gloucester revisited0
Chamber music, birds and Bach0
‘Well sorted and ordered’: sociable music-making and gentlemen’s recreation in the era of Byrd and Weelkes0
Hildegard’s Gesamtkunstwerk0
Very early music in Early Music0
A response to Joshua Rifkin (‘Singing nuns? More on the story of Verona 761’)0
Fifteenth- and sixteenth-century music notations0
True Orpheus of the city of Rome0
Baroque operas from madness to enlightenment0
Abstracts0
Romanizing Chinese: word–tone relations in Athanasius Kircher’s China illustrata0
Shaping Sound and Society: The Cultural Study of Musical Instruments0
Medieval and Renaissance Music Conference in Munich0
Editorial0
‘A knowledge easely taught, and quickly learned’: learning to sing in Byrd’s England0
Christopher Tye and the Tye family of Colchester in the 16th century0
Sounding passions and therapeutic performance in Thomas Weelkes’s songs0
Motet cycles between devotion and liturgy0
Restoration to Baroque0
Choirs, flutes and lutes0
Restoring the English March: interpreting 17th- and 18th-century drum music0
Editorial0
Madrigal or canzona? Performing intellectual and sensual pleasure in Jacopo Tintoretto’s Women making music0
Bach for harpsichord, piano and harp0
Music, Books and Theatre in Eighteenth-Century Exton: A Context for Handel’s ‘Comus’.0
Cryptic tenors0
O splendor gloriae: Taverner or Tye?0
Spatial positioning in English vocal chamber music, c.1560–16360
French music reimagined0
The social context of the hurdy-gurdy in England, 1700–19000
Recataloguing Bach0
Vocal embellishment in 18th-century Naples: solfeggio patterns in pre-composed cadenzas in sacred pieces by Gennaro and Gaetano Manna0
Hidalgo’s golden age in sound: Hispanic songs on recordings since 19660
Tallis and Byrd’s Cantiones Sacrae (1575): a sacred argument0
Rethinking early music in a time of isolation0
French flute innovations0
On the trail of the Willmott and Braikenridge manuscripts0
Poca robba, ma buona: the recorded legacy of ornamentation practice in 16th- and 17th-century music0
Italian practices in German lute tablature 
manuscripts, c.1500: practical script appearance0
Mozart Englished0
Singing at the piano with Hélène de Montgeroult0
A phylogenetic analysis of two preludes from 
J. S. Bach’s Well-Tempered Clavier II0
Discerning Josquin0
Faburden and fauxbourdon in the 15th-century carol0
A forgotten pioneer: Eugene Marteney and the American renaissance of hautboy-making, 1962–19690
Biennial Baroque in Geneva0
Italian Baroque instrumental music0
Benedicamus Domino tropes in the Birgittine Order: embellishing everyday liturgy0
Mourning sickness: the musical birth of ‘Barbara Allen’0
Byrd facsimiles0
Abstracts0
A turning point for Telemann scholarship?0
Abstracts0
The Josquin canon at 5000
Capricious songs and dances from early modern Europe0
Melismas in the Speculum musicae0
Abstracts0
Editorial0
Father Hermann Kniebandl (1679–1745), lutenist, composer and scribe from the Cistercian Abbey of Grüssau, Silesia0
Solfèges à deux voix égales: notes on a Rousseau manuscript0
Abstracts0
Music markets in Georgian Britain0
‘The most principall and chiefest kind of musicke’0
John Sheppard and the Ewens: a closer look0
Lustrous songs and delicate dances0
William Byrd’s Come, woeful Orpheus in context: motion as visual and musical affect0
Bach returns to Cambridge0
Paradise lost0
The Armide pattern in the music of François Couperin0
Did Alexander Utendal really compose the motet Angelus Domini a23 in A-Wn, HAN Cod. 9814?0
Editorial0
Sound in time0
Against the odds: pandemic early choral music0
The chordal continuo in French Baroque opera: revisiting the evidence0
The Spanish Golden Age and beyond0
Lost in translation? Tracing Lullian tunes in Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672)0
When the CD was king: reminiscences of a Reviews Editor0
The adaptability of the English ayre: secondary polyphonization techniques in Thomas Campion’s Two books of ayres0
Birmingham Baroque Bonanza0
Benedicamus Domino tropes in the monastery of Benedictine nuns at St George’s, Prague0
Captain Henry Cooke in Oxford0
Byrd 400 festival0
Steffani’s Amor vien dal Destino: new answers to old questions0
Lully’s music in northern Europe: evidence of early circulation in Swedish libraries0
‘With the base Viall placed between my Thighes’: musical instruments and sexual subtext in Titian’s Venus with musician series0
Prosulas in theory and practice0
Raphael’s ‘imperfect’ viol: a question of perspective0
Patterns of devotion in Britain and Ireland0
German sacred music, Catholic and Protestant0
Orlando at play: the games of 
Il palazzo incantato (1642)0
Familiar and unfamiliar0
Inside—and outside—Illibata: composition, context and chronology in a famous Josquin motet0
Josquin at 5000
A proper farewell to Beethoven’s 250th; balm for the dispirited listener’s soul0
Correspondence0
Francesco Ballerini’s opera licence for Vienna0
Playing finger cymbals in the Roman Empire: an iconographic study0
From Bach to Mendelssohn0
Rediscovering Arnold Dolmetsch: going back to the sources of the early music revival0
Med-Ren Granada 20240
Music in a vanished kingdom: medieval polyphony in the Teutonic Order state in Prussia0
Celestial music: astrology and instrumental affect in Der Natur Banquet (Wolfenbüttel, 1654)0
Mysticism in Jewish and Christian literature0
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