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Thomas Binkley

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Thomas Binkley
1931-1995
Tenure at the School of Music (1979-1995)
Biography  |  Writings  | Discography | Past School of Music Faculty Home


Biography

       American musicologist, lutenist and player of early wind instruments. He graduated from the University of Illinois (BM 1954) and then went to Germany to study musicology at the University of Munich. In 1959 in Munich he founded the Studio für alte Musik for the performance of early music; the other members were the mezzo-soprano Andrea von Ramm, the tenor Nigel Rogers and the string player Sterling Jones. This group, later known as the Studio der Frühen Musik, toured throughout the world until 1972, when it moved to Basle in Switzerland to take up residence at the Schola Cantorum Basiliensis. Binkley returned to the USA in 1978 as a visiting professor at Stanford University. In 1979 he became director of the Early Music Institute at the Jacobs School of Music of Indiana University, remaining in that position until his retirement in January 1995. Binkley’s publications include articles on performance practice. He made more than 40 recordings with the Studio der Frühen Musik, for which he was awarded many European prizes, including the Edison Award, Amsterdam (1964 and 1974), the Grand Prix du Disque, Paris (four times between 1968 and 1974), and the Preis der deutscher Schallplattenkritik, Berlin (seven times between 1965 and 1982).

Source:  Palmer, Larry:' Thomas Binkley,' Grove Music Online ed. L. Macy (Accessed [12 Feb. 2008]).

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Writings

Binkley, T.  “Le luth et sa technique.” In Le Luth et sa musique.  Neuilly-sur Seinne. 10-14 septembre 1957.  ed. Jean Jacquot, 25-36.  Paris: Centre national de la recherche scientifique, 1958: 2nd ed. rev. & corr. 1976.

_____.  “Electronic Processing of Music Materials.”  In Elektronische Datenverarbeitung in der Musikwissenschaft 1-20. Regensburg: Bosse, 1968

_____.  “Zur Aufführungspraxis der einstimmigen Musik des Mittelaters.”  Basler Jahrbuch für historische Musikpraxis 1: Sonderdruck, Winterthur: Amadeus, 1977.

_____.   “Der szenische Raum im mittelalterlichen Musikdrama.” In Musik und Raumed. ed. by  Thuring Bram. 47-60.  Basel: GS-Verlag, 1986.

_____.  Forword to Willi Apel.  Medieval Music: Collected Articles and Reviews.  Stutgart: Franz Steiner, 1986.

_____.  “A perspective on Historical Performance.”  Historical Performance 1, no. 1 (Spring 1988):  19-20.

_____.  Forword to Willi Apel.  Renaissance and Baroque Music: Composers, Musicology and Music Theory.  Stutgart: Franz Steiner, 1989.

_____.  “The Work is Not the Performance.”  In Companion to Medieval and Renaissance Music, ed. by Tess Knighton and David Fallows 36-43.  New York: Schirmer, 1992.

_____.  “Die Musik des Mittelalters.”  In Musikalische Interpretation.  Neues Handbuch der Musikwissenschaft, Band 11, ed. by Hermann Danuser, 73-138.  Laaber:  Laaber Verlang, 1992.

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Discography

Online Discography by Pierre-F. Roberge:
http://www.medieval.org/emfaq/performers/binkley.html

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Updated 12 Feb. 2008 / Benjamin P.
Comments: musiclib@indiana.edu
Copyright 1999-2008, The Trustees of Indiana University



last updated: 4/20/2012