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There are many fine musicological studies that analyse the devices used to heighten the texts of characters - male and female - in early music drama.
They will sing early music principally, but they have an instinct for new unaccompanied music as well.
In the early music dramas the heroes claim for themselves large fields of action.
To sum up these narratives: a forgotten early music is resurrected in recent times and gradually polished up to achieve a historically informed performance practice.
All other information, performance, analysis, composition needs to be drawn from this manuscript representation, as in early music, not much else has survived.
This programme has the unique quality associated with interpretations of chant by nonspecialist early music performers.
The same arguments apply here as in the endless debates on 'early music interpretation' - except we (may) have the recorded medium to help us.
It is necessary to fit early music into the larger picture of contemporary medieval music reception.
The ambiguities of early music have been acknowledged since at least 1980 in the debate surrounding authenticity discussed earlier.
While the early music practice aims at faithful reproduction of historical originals, some ethnomusicological approaches aim at recreating local settings.
Many subjects indicated parental influence as a factor in early music making, before contact with teachers through school.
At the same time, competition between conservatories led to the development of specialist courses in areas such as early music and ethnomusicology.
But the adequate representation of early music as found in manuscripts is the goal, and there is no other symbolic meaning of music other than the symbolic representation on paper.
The remaining chapters take a topical approach to specific aspects of musical research, including sources for those studying women in music, film music, the early music revival and music publishing.
In music, authenticity has been equated with 'historically correct' by the early music revival movement from the 1950s or 1960s, and with 'placed in the original context' by early ethnomusicologists.
