Soundclips and facsimiles
The following articles in Early Music have soundclips, facsimiles of sources, and editions of music, all of which can be explored by clicking on the links:
- Eitan Ornoy, Between theory and practice: comparative study of early music performances, Early Music, xxxvi/2 (May 2006), pp. 233-248.
- Frans and Julie Muller, Completing the picture: the importance of reconstructing early opera), Early Music, xxxiii/4 (November 2005) , pp. of 667-682.
- Kerry McCarthy, Byrd, Augustine, and Tribue, Domine, Early Music, xxxii/4 (Nov 2004), pp.569-76
- Mary A. Oleskiewicz, Quantz's Quatuors and other works newly discovered,
Early Music, xxxi/4 (November 2003), pp.484-505 - Ardis Butterfield, The art of repetition: Machaut's Ballade 33, Nes qu'on porroit, Early Music, xxxi/3 (August 2003), pp.346-360
- Margaret Bent, Words and music in Machaut's Motet 9, Early Music, Early Music, xxxi/3 (August 2003), pp.363-388
- Patrick Macey, An expressive detail in Josquin's Nimphes, nappés, Early Music, xxxi/3 (August 2003), pp.400-411
- Mike Smith, 'Whom Music's lore delighteth': words-and-music in Byrd's Ye sacred Muses, Early Music, xxxi/3 (August 2003), pp.425-435
- Anne Stone, Self-reflexive Songs and their readers in the late fourteenth century, Early Music, xxxi/2 (May 2003), pp.180-194
- Donald Greig, Ars subtilior notation as performance palimpsest, Early Music, xxxi/2 (May 2003), pp.196-209
- Daniel Leech-Wilkinson, Articulating Ars Subtilior song, Early Music, xxxi/1 (Feb 2003), pp.6-18
- Yolanda Plumley, Playing the citation game in late 14th-century chanson, Early Music, xxxi/1 (Feb 2003), pp.20-39
- Edward Wickham, Finding closure: performance issues in the Agnus Dei of Ockeghem's Missa L'homme armé, Early Music, xxx/4 (Nov 2002), pp.593-607
- Bernadette Nelson, Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina, Early Music, xxx/3 (Aug 2002), pp.364-79
- John Rink, The line of argument in Chopin's E minor Prelude, Early Music, xxix/3 (Aug 2001), pp.434-44
- Peter Holman, Compositional choices in Henry Purcell's Three Parts upon a Ground, Early Music, xxix/2 (May 2001), pp. 250-61
- David Ledbetter, On the manner of playing the Adagio: neglected features of a genre, Early Music, xxix/1 (Feb 2001), pp.15-26
- Christopher Page, Around the performance of a 13th-century motet, Early Music, xxviii/3 (Aug 2000), pp.343-57