Early Music Lab
Matthew Peattie, Director
Early Music Lab, an elective offered through the Division of Composition, Musicology, and Theory, offers students an opportunity to experience Medieval, Renaissance and early Baroque repertories through hands-on music making. Student participation in the Early Music Lab is a mix of graduates and undergraduates from several divisions within the College-Conservatory of Music. Although enrollment is not limited to performance majors and history majors, these students are particularly eager to experience music making on replicas of period instruments in a historical context. Students may elect to explore historical instruments unrelated to the modern instruments they study in their degree programs or with which they are already familiar. The lab thus provides a forum for students to branch out to other instrument families (including voice) while exploring early music. The lab also enhances the study of early music by performing classroom demonstrations upon request.
In addition to the resources available through the CCM Albino Gorno Memorial Music Library, the Early Music Lab maintains a collection of English, French, German, Italian and Spanish instrumental and vocal polyphony; Baroque solo repertory; tutors and method books; research pertaining to early music; historic treatises in facsimile and in translation; and facsimiles of Renaissance prints and manuscripts.
Instrument Collections
Renaissance Collection
- 10 Violas da gamba, including 6 by John Pringle, with bows by Harry Grabenstein
- 16 Recorders, by Mollenhauer (“Kynsecker”) in various sizes from garklein to contrabass
- 5 Sackbuts, by Frank Tomes
- 5 Crumhorns, hand made by Richard Wood
- 3 Shawms, by Joel Robinson and Robert Cronin
- 1 Bass dulcian, by Leslie Ross
- 1 Lute, by Alan Clark
Baroque Collection
- 9 Recorders, including 2 altos by Von Huene (“Rippert”)
- 1 One-key flute, by Hahn
- 1 Violin, with bow by Harry Grabenstein
- 1 Theorbo, by Michael Schreiner
- 1 2-manual French-style harpsichord, by Ben W. Bechtel
Treble, tenor and bass violas da gamba by John Pringle (after John Rose) with bows by Harry Grabenstein.
Recorders by Mollenhauer (“Kynsecker”) in various sizes from garklein to contrabass.
Lute by Alan Clark. Theorbo by Michael Schreiner.
Crumhorns handmade by Richard Wood.
Soprano and alto shawms by Joel Robinson, tenor shawm by Robert Cronin and bass dulcian by Leslie Ross.
Sackbuts by Frank Tomes.
