Aside from choirs at the cathedral churches in England which were reviving these pieces, establishing a new standard and tradition in performing Renaissance choral music, several independent instrumental ensembles also emerged in the 1960s.
Research into early music was carried out by members of the Galpin Society and independent scholars such as Mary Remnant and Christopher Hogwood.
Few people involved in the classical music industry today would not acknowledge the breadth and depth of the impact that this movement has had.
As much as any other force in the period, the protagonists of the early music revival were opponents of cultural values that, in the late 1950s, seemed virtually unquestionable.
[citation needed] Also, in the 1970s and 1980s many ensembles in Europe, led by the likes of Nikolaus Harnoncourt (Austria), Gustav Leonhardt, Jos van Veldhoven (Netherlands), Philippe Herreweghe, Sigiswald Kuijken (Belgium), Christopher Hogwood, Trevor Pinnock and John Eliot Gardiner (England); and many others, made works in baroque and early classical periods approachable and accessible for a much greater public.
However, it could be misleading to think of this revival simply in chronological terms, because early music performers soon extended their interests to later periods.
People like Otto Steinkopf (one of the most knowledgeable and talented Berlin instrument makers and performers) started the meticulous reproduction of woodwinds: crumhorns, cornamuses, rauschpfeifes, shawms, flutes and early types of clarinets and oboes.
[citation needed] There continues to be a great flourishing of ensembles, training programs, concert series, and recordings devoted to ancient music in the 21st century.