Additional Publications

    Directory of Members


    Directory of Members 2014 2014 Directory of Members is now available to EMA members! The Early Music America Directory of Members is an annual publication - a veritable "Who's Who" of the North American early music community. It is a great networking tool for musicians (both professional and amateur) and artists' managers, presenters, recording companies, and other supporters of early music. Not only are individuals and organizations listed alphabetically, but they are indexed by early music specialty as well.

     

    The Directory of Members is divided into the following sections:

    • Mission, Vision, Values 
    • Membership Benefits
    • Organizational Members
    • Individual Members
    • Libraries
    • Geographical Index
    • Individual Specialties Index
    • Organizational Specialties Index
    • Advertiser Index

     

    EMA Members can access the EMA Directory of Members in the Members Only section of the web site. Simply log in with your username and password and click on the "Directory of Members" link. If you aren't a member, find out about the benefits of becoming one.

     

    Discounted Publications


    EMA Members are entitled to discounts on the following publications:

    Oxford University Press-Benefit changes
    EMA members now can receive discounts on a wide range of OUP titles including the journal Early Music directly through OUP! Simply log onto your account with your username and password, click on "Oxford University Press Discount" link in the lower left. This page will take members directly to OUP's discount page.

     

    World of Baroque Music


    from the Indiana University Press
    The World of Baroque Music-New Perspectives
    Edited by George B. Stauffer
    List Price: $49.95
    EMA Member price: $40
    Shipping & handling is additional.
    Click here to order.  


    from the Indiana University Press
    Performer’s Guide to 17th-Century Music, Second Edition
    Edited by Stewart Carter, revised and expanded by Jeffery Kite-Powell
    List Price: $49.95
    EMA Member price: $40
    Shipping & handling is additional.
    Click here to order.  
    from the Indiana University Press
    Performer's Guide to Renaissance Music, Second Edition
    Edited by Jeffery Kite-Powell
    List Price: $49.95
    EMA Member price: $40
    Shipping & handling is additional.
    Click here to order.  
    from the Indiana University Press
    Performer's Guide to Medieval Music
    Edited by Ross Duffin
    List Price: $40
    EMA Member price: $30
    Shipping & handling is additional.
    Click here to order.

    from the University of Rochester Press
    The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical "Period"
    by Stephanie D. Vial
    List Price: $85
    EMA member price: $63.75     

    Boydell & Brewer is pleased to offer Early Music America members a 25% discount on most titles. The 25% discount cannot, however, be combined with conference or other discount offers. If you would like to use this discount, please remember to quote this offer code when ordering: $14293. Click here to visit the University of Rochester Press web site

    Click here to join EMA!

     

    Historical Performance (online)


    Library of Congress Number: ISSN 1527-9715
    ©2000 Early Music America
    All rights reserved

    Issue No. 1, January 2000 

    Why I Hate Vallotti (or is it Young?)
    by Ross W. Duffin
    Fynette H. Kulas Professor of Music
    Case Western Reserve University
    Cleveland, Ohio 

    Abstract

    Modern performers of Baroque music are increasingly using historical temperaments. Among the dozens of temperament solutions proposed by theorists during the 17th and 18th centuries, related temperaments by Francesc' Antonio Vallotti and Thomas Young are among the most popular today, to the point where they arguably dominate the field. 

    This article briefly reviews the technical basis for temperaments, then presents the historical and musical evidence for and against the temperaments of Vallotti and Young in performances of Baroque music. Graphics and sound illustrations allow comparison of the different temperaments both by constituent intervals and complete pieces. 

    On both historical and musical grounds, the author pleads for a more critical approach to Baroque temperament choices, suggesting that 1/6 comma meantone might be a better temperament for most ensemble situations. 

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