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136: is a renewed interest in music from ancient history or prehistory. The general discussion of how to perform music from ancient or earlier times did not become an important subject of interest until the 19th century, when Europeans began looking to ancient culture generally, and musicians began to discover the musical riches from earlier centuries. The idea of performing
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Recordings of all eras of early music and works of many lesser-known composers are now available. While some major recording labels have reduced funding for classical music recordings, a large number of independent classical labels, such as
Harmonia Mundi and Hyperion, continue to produce early music
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more carefully, preparing performing editions of many works. Aside from choirs at the cathedral churches in
England which were reviving these pieces, establishing a new standard and tradition in performing Renaissance choral music, several independent instrumental ensembles also emerged in the 1960s.
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period. However, it could be misleading to think of this revival simply in chronological terms, because early music performers soon extended their interests to later periods. The focus was not simply on repertoire, but on the ways in which the music is conceived, the process by which it is learned,
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of the early music revival were opponents of cultural values that, in the late 1950s, seemed virtually unquestionable. The revival of interest in music from earlier periods was more widely felt than in the pedagogy and performance practice of
European art music; it also influenced the performance
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Another important aspect to the revival was the reconstruction of instruments of the
Renaissance and Baroque periods. People like Otto Steinkopf (one of the most knowledgeable and talented Berlin instrument makers and performers) started the meticulous reproduction of woodwinds: crumhorns,
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The early music revival changed the listening habits of classical music audiences by introducing them to a range of music of which they were largely unaware. In the long term, the performance methods and values of the early music revivalist, particularly what became known as a quest for
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and the way it is taught, performed, sponsored and sold. Few people involved in the classical music industry today would not acknowledge the breadth and depth of the impact that this movement has had. As much as any other force in the period, the
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on 11 March 1829, cited as one of the most significant events in the early music revival, although the performance used contemporary instruments and the work was condensed, leaving out a significant amount of Bach's music.
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There continues to be a great flourishing of ensembles, training programs, concert series, and recordings devoted to ancient music in the 21st century. In Europe a proliferation of
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practices and research of popular music and the music of oral traditions. Also, in the 1970s and 1980s many ensembles in Europe, led by the likes of
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By the 1950s the early music revival was underway, and was a fully established phenomenon by the end of the 1970s. It was centered primarily in
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397:(England); and many others, made works in baroque and early classical periods approachable and accessible for a much greater public.
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Early Music
Society continue to promote the study and performance of ancient music. Several college music departments, such as the
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and specialist departments of music conservatories, have made early music an established part of mainstream musical activity.
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is widely considered the key figure in the early music revival in the early 20th century. Dolmetsch's 1915 book
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cornamuses, rauschpfeifes, shawms, flutes and early types of clarinets and oboes. Other manufacturers like the
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recordings. The majority of recorded music available is found for purchase (or download) on the internet.
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648:(Speech). Festival and Academy of the American Bach Soloists in the Caroline H. Hume Concert Hall at the
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is often credited as an important figure in reviving music from the past. He conducted a performance of
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the company which has saved many rare and some relatively unknown instruments from extinction.
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Other important milestones in the early music revival included the 1933 founding of the
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Instruments: An Illustrated History : from Antiquity to the Present
770:. Music and Civilisation. Vol. 4. British Museum Yearbook. pp. 83–134.
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was a milestone in the development of authentic performances of early music.
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19th century revival of interest in
Baroque and other pre-classical music
804:(2010 University of Michigan digitization ed.). London: Batsford.
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In the early 20th century, musical historians in the emerging field of
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At this time established pioneers of early music such as the
English
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began performing Bach's organ music in a series of London concerts.
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presented house concerts of ancient music in the late 1700s, where
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description of early music and the history of performance practice
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Study and performance of ancient music before the 19th century
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734:(1968). "The Use of Frets on Rebecs and Medieval Fiddles".
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English Bowed
Instruments from Anglo-Saxon to Tudor Times
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periods, and to a certain extent, the first part of the
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were joined by a new wave of specialist groups such as
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A Millennium in 50 Years: The Discovery of Early Music
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more "authentically", with a sense of incorporating
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58:adding citations to reliable sources
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1397:American Musical Instrument Society
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613:The Early Music Revival: A History
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1637:List of early music ensembles
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663:. Courier Corporation.
657:Haskell, Harry (1996).
617:. Thames & Hudson.
609:Haskell, Harry (1988).
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826:. 54. Amadeus Press.
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351:(centered around its
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69:"Early music revival"
768:A medieval "gittern"
766:; Marks, R. (1980).
694:Macmillan Publishers
367:Nikolaus Harnoncourt
353:Philharmonia Baroque
54:improve this article
1632:Early music revival
1608:Millennium of Music
1482:Early Music America
1446:Amherst Early Music
1379:Paris Conservatoire
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1172:Early music revival
782:. Clarendon Press.
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387:Christopher Hogwood
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488:Indiana University
331:and Basel (at the
231:Early 20th century
223:St Matthew Passion
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742:(1968): 146–151.
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670:978-0-4862-9162-8
640:Commanday, Robert
571:, pp. 14–15.
517:, established by
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500:Boston University
484:Peabody Institute
383:Sigiswald Kuijken
375:Jos van Veldhoven
323:Late 20th century
245:Renaissance music
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71: –
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43:This article
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1487:Lute Society
1304:William Dowd
1183:}}
1177:{{
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1090:Publications
1033:Institutions
848:Medieval.org
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716:. Gollancz.
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593:Haskell 1988
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583:, Chapter 1.
581:Haskell 1988
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569:Haskell 1988
554:Haskell 1988
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542:Haskell 1988
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459:21st century
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311:in France.
305:Monteverdi’s
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266:Mary Remnant
254:David Munrow
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203:19th century
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170:William Byrd
152:In England,
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133:
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110:October 2018
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52:Please help
47:verification
44:
18:Bach Revival
1552:EMI Reflexe
1439:Instruction
1420:Harpsichord
1413:instruments
1326:collections
1256:Early music
1105:Early Music
1009:Netherlands
989:Elizabethan
977:Elizabethan
964:Renaissance
899:Middle Ages
891:Early music
414:renaissance
385:(Belgium),
369:(Austria),
289:Paul Sacher
285:Switzerland
138:early music
1686:Categories
1615:Pied Piper
1601:Micrologus
1390:collectors
1388:Instrument
1324:Instrument
1290:Instrument
603:References
297:lute songs
237:musicology
162:Palestrina
80:newspapers
1465:Societies
1258:festivals
944:Lithuania
800:(1989) .
529:Footnotes
293:Max Meili
207:In 1808,
1594:Harmonia
1425:Recorder
1292:builders
1206:Category
1097:Journals
1019:Portugal
949:Portugal
917:Scotland
822:(1989).
778:(1986).
686:(eds.).
507:Montréal
478:and the
443:and the
410:medieval
341:New York
337:European
241:Medieval
1650:Portals
1411:Primary
1160:Related
1070:America
999:Germany
972:British
934:Germany
912:England
418:baroque
94:scholar
1572:Teldec
1525:Labels
1040:Europe
1014:Poland
994:France
984:Cyprus
929:France
924:Cyprus
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756:841437
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511:Quebec
498:, and
494:, the
439:, the
435:, the
347:, and
345:Boston
329:London
219:Bach's
190:Handel
182:Mozart
96:
89:
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67:
1676:Music
1625:Other
1586:Shows
1133:Other
1024:Spain
1004:Italy
954:Spain
939:Italy
752:JSTOR
281:Basel
101:JSTOR
87:books
1430:Viol
828:ISBN
806:ISBN
784:ISBN
718:ISBN
698:ISBN
665:ISBN
619:ISBN
412:and
393:and
299:for
268:and
252:and
243:and
188:and
186:Bach
73:news
744:doi
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301:HMV
287:by
279:in
272:.
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