Bibliography – Recorder Home Page

This bibliography covers a range of topics concerning historic recorders, their makers, and the collections in which they can be found. A more convenient and flexible way of exploring it is via the Zotero citation database underlying this web-site. The Zotero interface is straightforward to use and allows you to export selected entries in a variety of formats and to create your own citation lists in a range of journal styles. All you need is your web-browser. This will be of particular assistance to students and researchers.

Abondance, Florence. 1981. “Musiciens et musique en Normandie. Le Musée Instrumental de la Couture-Boussy.” Bulletin du Centre Normand d’Histoire Musicale 6: 5–7.
Academia Nazionale di Santa Cecilia. 2010. “Museo degli strumenti musicali: catalogo on line.” Museo degli strumenti musicali. http://museo.santacecilia.it/museo/cms.view?munu_str=0_2_0&numDoc=13.
Acht, Rob van. 1974. “De historische ontwikkeling van de blaasinstrumenten van de 16e tot de 19e eeuw.” In Historische houtblaasinstrumenten, Kasteel Ehrenstein te Kerkrade, 6-28 Juli 1974, 9–11. Den Haag / Kerkrade: Haags Gemeentenmuseum, Gemeente Kerkrade, Wereldmuziekconsours Kerkrade.
Acht, Rob van. 1988. “Dutch Wind-Instruments, 1670-1820.” Tijdschrift van de Vereniging Voor Nederlandse Muziekgeschiedenis 38: 99–122.
Acht, Rob van. 1999. “Dutch Wind Instruments from the Baroque Period: Scientific Qualities and Features.” Musique, Images, Instruments: Revue Française D’organologie et D’iconographie Musicale 4: 33–52.
Acht, Rob van. 2013. “Technical Drawings of Musical Instruments in Public Collections of the World. Suplement (2000).” Comité International Des Museés et Collections d’Instruments de Musique (CIMCIM). http://homepages.ed.ac.uk/am/iwd.html.
Acht, Rob van. 1997. “The Sound Quality of Dutch Wind Instruments from the Baroque Period: The Project (1).” In Proceedings, 533–42. St Albans: Institute of Acoustics.
Acht, Rob van, Vincent van den Ende, and Hans Schimmel. 1991. Niederländische Blockflöten des 18. Jahrhunderts = Dutch Recorders of the 18th Century: Sammlung/Collection Haags Gemeentemuseum. Celle: Moeck Verlag.
Adkins, Cecil. 2012. “The Anciuti Enigma.” In . Metropolitan Museum of Art, New York: Unpublished.
Aguilar, Patricia Michelini. 2014. “Leopoldo Miguez e a flauta doce: investigações sobre o instrumento doado pelo compositor ao museu do Instituto Nacional de Música [Leopoldo Miguez and the Recorder: Research on the Instrument Donated by the Composer to the Museum of the National Institute of Music].” XXIV Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música, São Paulo, Brasil. http://www.anppom.com.br/congressos/index.php/24anppom/SaoPaulo2014/paper/viewFile/3196/863.
Alizon, Jean-François. 1985. “Amateurs and Professionals in the 18th Century.” NEMA Journal 2: 16–18.
Alker, Hugo. 1963. “The Tenor Recorder: Its Development, Special Characteristics & Repertoire. With Additions and Amendments by Edgar Hunt.” Consort 20: 166–73.
Allain-Dupré, Philippe. 2000. Les flûtes de Claude Rafi, fleustier lyonnais au XVIe siècle historique, description, tailles, esthétique. Instruments historiques: monographs d’instruments, facteurs et luthers. Courlay: J.M. Fuzeau.
Alpert, Lorenzo. 2015. “Die Echoflöte.” Historische Holzblasinstrumente Andreas Schöni. Accessed December 9. http://www.schoenibern.ch/site/assets/files/1031/echofloete_concerto_koeln.pdf.
Alvarenga, João Pedro de, ed. 1994. Fábricas de Sons / Instrumentos de Música Europeus dos Séculos XVI a XX. Lisbon: Electa, Museu da Música.
Amman, Heinz. 1985. “Plan: Bressan Recorder from Bate Collection, Oxford.” FoMRHI Quarterly 40: 12. http://www.fomrhi.org/uploads/bulletins/Fomrhi-040.pdf.
Amman, Heinz. 2002. “Eine Sopranblockflöte von J.B. Gahn.” Windkanal, no. 2: 12–14. http://www.windkanal.de/images/stories/PDF/2002-2/Windkanal_200202_S12-14.pdf.
Ahrens, Christian. 2009. “The London Woodwind Maker John Jost Schuchart (Schuchardt).” Galpin Society Journal 62: 287–88.
Arnold, Dennis. 1964. “Instruments and Instrumental Teaching in the Early Italian Conservatoires.” Galpin Society Journal 18 (March): 72–81.
Arvidsson, Ragnar. 2015. “New Baroque Bore.” http://www.recorder-arvidsson.se/en/new-baroque-bore/.
Ashbee, Andrew. 1993. Records of English Court Music, VII (1485-1558). Aldershot: Scolar Press.
Atlas, Allan W. 1988. “Pandolfo III Malatesta mecenate musicale: musica e musicisti presso una signoria del primo quattrocent [Pandolfo III Malatesta Patron of Music: and Musicians at a 14th Century Town Hall].” Rivista italiana di musicologia 25: 53.
Avena Braga, Inês de. 2015. “Dolce Napoli : Approaches for Performance – Recorders for the Neapolitan Baroque Repertoire, 1695-1759.” Ph.D dissertation, Leiden: Leiden University. Academy of Creative and Performing Arts, Faculty of Humanities, Leiden University. http://hdl.handle.net/1887/33729.
Avena Braga, Inês de. 2012. “The Panormo Alto Recorder: A Dolce Flauto Dolce?” Journal of the American Musical Instrument Society 38: 34–46.
Avena Braga, Inês de. 2013. “Three Castel Recorders: Rome, Edinburgh and Especially Nice.” Recercare 25 (1-2): 75–93.
Baines, Anthony. 2002. Catalogue of Musical Instruments in the Victoria and Albert Museum. Part II: Non-Keyboard Instruments. Edited by Peter Thornton. London: V&A Publications. http://www.vam.ac.uk/__data/assets/pdf_file/0011/178499/Catalogue_Wind_Instruments.pdf.
Baines, Anthony. 1966. European and American Musical Instruments. London: Batsford.
Bali, János. n.d. “Renaissance Recorders in the Brukenthal Museum.” Academia. http://www.academia.edu/28416307/Renaissance_Recorders_in_the_Brukenthal_Museum.
Bali János. 2011. “A barokk furulya Magyarországon [The Baroque Recorder in Hungary].” DLA thesis, Pécs: Pécsi Tudományegyetem Művészeti Kar Doktori Iskola [Pécs University Faculty of Arts Doctoral School]. http://furulya.hu/fl/bali_dla.pdf.
Bali János. 2007. A furulya [The Recorder]. Budapest: Editio Musica Budapest.
Bali, János. 2007. “Vier kaum beachtete Renaissanceblockflöten [Four little-known Renaissance Recorders].” Tibia 32 (2): 419–25, 431.
Ballinger, C. 1997. “Museums: Bate Collection.” Early Music Today 5 (3): 10–13.
Bär, Frank P. 1992. “Musikinstrumente auf Schloß Sigmaringen [Musical instruments in Sigmaringen Castle].” Tibia 17 (2): 124–31. http://www.moeck.com/uploads/tx_moecktables/1992-2.pdf.
Bär, Frank P. 1994. “Die Sammlung der Musikinstrumente im Fürstlich-Hohenzollernschen Schloß zu Sigmaringen an der Donau. Katalog [The Collection of Musical Instruments in the Princely Hohenzollern Castle at Sigmaringen on the Danube. Catalogue].” In Tübinger Beiträge zur Musikwissenschaft. Vol. 15.
Bär, Frank P. 1999. “Neuerwerbsbericht.” Anzeiger des Germanischen Nationalmuseums 1998.
Bär, Frank P. 2001. Holzblasinstrumente im 16. und frühen 17. Jahrhundert. Familienbildung und Musiktheorie [Woodwind Instruments in the 16th and Early 17th Centuries. Family Education and Music Theory]. Vol. 24. Tübinger Beiträge zur Musikwissenschaft. Tübingen: Universität Tübingen.
Bär, Frank P. 1995. “‘…FAICT DE LA MAIN DE RAFFY LYONNOIS …’: Folgerungen aus einem Sigmaringer Instrumentenfund. [‘… made by the hand of Raffi, Lyons …’ Conclusions from an Instrument Find at Sigmaringen].” Musik in Baden-Württemberg 2: 75–108.
Barbieri, Patrizio. 2009. “An Assessment of Musicians and Instrument-Makers in Rome during Handel’s Stay, the 1708 Grand Taxation.” Early Music 37 (4): 597–619.
Beaudin, Jean-François. 1988. “New Plans of Old Flutes.” Recorder: Journal of the Victorian Recorder Guild 8: 22–25.
Beaudin, Jean-François. 1998. Liste de relevés de flûtes baroques [List of Baroque Flutes]. 312, Chemin Richford, Frelighsburg, Québec, Canada, JOJ-1CO.
Beaudin, Jean-François. 2015. Plan of Rippert Alto (Paris: Anonymous). 312, Chemin Richford, Frelighsburg, Québec, Canada, JOJ-1CO: Published by the Author. Accessed October 20. http://www.iinet.net.au/~nickl/inline/rippert_beaudin.jpg.
Beaudin, Jean-François. 1987. “De nouveaux plans de flûtes anciennes du Musée du Conservatoire de Paris [On New Drawings of the Early Recorders in the Paris Conservatoire Museum].” Flûte à bec & instruments anciens 23: 26–27.
Bellson, Julius. 1973. The Gibson Story. Kalamazoo, Michegan: Julius Bellson.
Benedikt, Erich. 1972. “Ungewohnte Stimmlagen der Blockflöte und ihre Bedeutung [Recorders with Unusual Ranges and Their Significance].” Musikerziehung, 25 (4): 156–59; (5): 210–12.
Benedikt, Erich. 1975. “Recorders of Unusual Sizes.” Recorder & Music 5 (2): 42–44.
Benedikt, Erich. 1982. “Zur Geschichte Der Alpenländischen Volkstümlichen Querpfeife Und Anderer Flöten. Der Kärntner Schwegelmacher Hausa Schmidl.” Tibia 1982 (1): 13–21.
Bennett, Mary. 1991. “Robert Goble.” Thursley Chronicle. http://www.gobleharpsichords.co.uk/Robert_Goble_Biog.pdf.
Bergmann, Walter. 1964. “The Chester Recorders.” Recorder and Music Magazine 1 (5): 141.
Bergstrøm, Ture. 1998. “Pörschmann-blockflöjten på; Musikhistorisk Museum: Beretning om en teknisk undersøgelse’ [the Pörschmann Recorder in the Musikhistorisk Museum: Report of a Technical Examination].” In Musikkens Tjenere: Instrument-Forsker-Musiker: Jubilæumsskrift for Musikhistorisk Museum og Carl Claudius’ Samling 1898-1998, edited by Mette Müller and Listbet Torp, 139–65. Copenhagen: Museum Tusculanums Forlag. http://www.bergstrom.dk/article1.html.
Bergstrøm, Ture. 2015. “Technical Drawings of Original Historical Musical Instruments.” Ture Bergstroøms Instrrumentbyggeri. Accessed August 22. http://www.bergstrom.dk/draw.html.
Bergstrøm, Ture. 1999. “Communication 1618: Technical Drawings of Musical Instruments on the Internet.” Translated by Oliver R. Hirsh. FoMRHI Quarterly 94: 26–31. http://www.fomrhi.org/uploads/bulletins/Fomrhi-094.pdf.
Bergstrøm, Ture. 2002. “Early Baroque Recorders.” Ture Bergstroøms Instrrumentbyggeri. http://www.bergstrom.dk/ebrec.html.
Bergstrøm, Ture. 1986. “Plan: Vienna Quint Bass Recorder.” FoMRHI Quarterly 43: 23. http://www.fomrhi.org/uploads/bulletins/Fomrhi-043.pdf.
Bergstrøm, Ture. 1999. “Two More Recorders for the Music of van Eyck.” In . http://www.euchmi.ed.ac.uk/gxjta.html.
Bernardini, Alfred. 1985. “Carlo Palanca e la costruzione di strumenti a fiato a Torino nel settecento [Carolo Palanca and the Construction of Wind Instruments in 16th-century Turin].” Il flauto dolce 13: 22–26.
Bernardini, Alfredo. 1989. “Woodwind Makers in Venice, 1790–1900.” Journal of the American Musical Instrument Society 15: 52–73.
Bernardini, Alfredo. 1986. “Andrea Fornari (1753–1841) ‘fabricator di strumenti’ a Venezia” [Andrea Fornari (1753–1841), Instrument Maker in Venice].” Il flauto dolce 14-15: 31–36.
Bernardini, Alfredo. 1985. “Oboe Playing in Italy from the Origins to 1800.” Oxford: Oxford University.
Bernardini, Alfredo, and Renato Meucci. 2002. “L’oboe d’avorio di Anciuti (1722) [The Ivory Oboe by Anciuti (1722)].” Rassegna di Studi e di Notizie 26: 371–83.
Bessaraboff, Nicholas. 1941. Ancient European Musical Instruments: An Organological Study of the Musical Instruments in the Leslie Lindsey Mason Collection at the Museum of Fine Arts, Boston. Boston: Harvard University Press.
Betz, Marianne. 1992. Der Csakan und seine Musik: Wiener Musikleben im frühen 19. Jahrunder, dargestellt am Beispiel einer Spazierstockblockflöte [The Csakan and its Music: Viennese Musical Life in the Early Nineteenth Century, Presented by the Example of a Walking-stick Recorder]. Tutzing: Hans Schneider.
Bijlo, Marcel. 2006. “Het Venetiaanse blokfluitconsrot in de zestiende eeuw: De Bassano-broers als ijkpunt [The Venetian Recorder Consort in the Sixteenth Century: the Bassano Brothers as a Reference Point].” Tijdschrift oude muziek 21 (3): 16–19.
Birsak, Kurt. 1973. Die Holzblasinstrumente Im Salzburger Museum Carolino Augusteum: Verzeichnis und entwicklungsgeschichtliche Untersuchungen [Woodwind Instruments in the Carolino Augusteum Museum, Salzburg: Directory and Historical Studies]. Publikationen des Instituts für Musikwissenschaft der Universitat Salzburg. Salzburg: Salzburger Museum Carolino Augusteum.
Bizzi, Guido, and Lorenzo Girodo, eds. 1991. La collezione di strumenti musicali del Museo Teatrale alla Scala [The Collection of Musical Instruments in the Museo Teatrale alla Scala]. Milan: Silvana Editoriale.
Blagodatov, Georgii I. 1972. Katalog Sobraniya Muzikalnykh Instrumentov. Leningrad: Edition Luzyka.
Blanchfield, David. 1972. “A Ninetenth-Century English Recorder.” Recorder Magazine 10 (2): 34–45.
Blezinger, Stephen. 1995. “Ganassi –Kynseker –Bressan –Denner: Bauliche unterschiede und Ihre Auswirkungen auf die muikalische Praxis [Ganassi, Kynseker, Bressan, Denner: Structional Differences and their Consequences for Musical Practice].” In Vorträge und Dokumentation. Karlsruhe. http://www.moeck.com/en/tibia/tibia-early-issues/1990-1999.html.
Blood, Brian. 2015. “The Dolmetsch Story.” Dolmetsch Musical Instruments. Accessed August 22. http://www.dolmetsch.com/Dolworks.htm.
Borders, M. 1988. European & American Wind & Percussion Instruments: Catalogue of the Stearns Collection of Musical Instruments. Ann Arbor: University of Michigan Press.
Bouterse, Jan. 2014. “Communication 2012: Frans Brüggen, 1934-2014.” FoMRHI Quarterly, no. 128: 20–22. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-128/Comm%202012.pdf.
Bouterse, Jan. 2005. “The Woodwind Instruments of Richard Haka (1645/6–1705).” In From Renaissance to Baroque, Change in Instruments and Instrumental Music in the Seventeenth Century, edited by Johathan Wainwright and Peter Holman, 342. Aldershot and Burlington: Ashgate.
Bouterse, Jan. 2005. Dutch Woodwind Instruments and Their Makers, 1660–1760. Translated by Ruth Koenig. The Hague: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis.
Bouterse, Jan. 1989. “Maten van een barok-altblokfluit in moderne stemming [Measurement of a Baroque Alto Recorder at Modern Pitch].” Bouwbrief 55: 12–13.
Bouterse, Jan. 1991. “Inventarisatie muziekinstrumenten in Nederalandse musea. [Inventory of Musical Instruments in Netherlands Museums].” Bouwbrief 62: 20.
Bouterse, Jan. 1991. “The Descriptions of the Dutch Recorders in the Collection of the Haags Gemeentemuseum.” FoMRHI Quarterly 63: 51–54. http://www.fomrhi.org/uploads/bulletins/Fomrhi-063.pdf.
Bouterse, Jan. 1993. “Drie Baroksopraanblokfluiten van Richard Haka: Tips voor het maken van een copie. [Three Baroque Soprano Recorders by Richard Haka: Tips on How to Make a Copy].” Bouwbrief 17: 8–14.
Bouterse, Jan. 1998. “Communication 1569: The Alto Recorders of Steenbergen.” FoMRHI Quarterly 91: 19–27. http://www.fomrhi.org/uploads/bulletins/Fomrhi-091.pdf.
Bouterse, Jan. 1999. “Stempels en inscripties op Nederlandse houten blaasinstrumenten uit de barok [Stamps and Inscriptions on Dutch Baroque Woodwind Instruments].” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 49 (1): 32–54.
Bouterse, Jan. 2001. “Nederlandse houtblasinstrumenten en hun bouwers, 1660-1760. [Dutch Woodwind Instruments and their Makers, 1660-1760].” Ph.D. dissertation, Utrecht: Universiteit Utrecht.
Bouterse, Jan. 2004. “Recorders Recorded (CD): Catalogue.” Globe Records GLO 5209, Klaas, Posthuma Productions, Castricum.
Bouterse, Jan. 2007. “Die alte Dame, oder Spielen auf historischen Blockflöten [The Old Lady, or Playing on Historical Recorders].” Tibia 32 (4): 591–94.
Bouterse, Jan. 2013. “New List of Dutch Woodwind Instruments from the 17th and 18th Centuries, Including Photos of the Stamps of Their Makers.” De Website van Jan Bouterse. http://www.mcjbouterse.nl/NewListDutchWoodwinds.htm.
Bouterse, Jan. 1989. “Communication 913: The Flutes of Robert and Willem Wijne.” FoMRHI Quarterly 55: 29–36. http://www.fomrhi.org/uploads/bulletins/Fomrhi-055.pdf.
Bouterse, Jan. 1991. “Communication 1052: The Dutch Recorders and Tranverse Flutes of the 17th and 18th Century: List of Instruments July 1991.” FoMRHI Quarterly 64: 33–37. http://www.fomrhi.org/uploads/bulletins/Fomrhi-064.pdf.
Bouterse, Jan. 1992. “Historical Dutch Recorders in American Collections.” American Recorder 33 (3): 14–18.
Bouterse, Jan. 1992. “Nederlandse houtblaasinstrumenten in Amerikaanse collecties. [Netherlands Woodwind Instruments in American Collections].” Bouwbrief 67: 3–10.
Bouterse, Jan. 1993. “Three Baroque Soprano Recorders by Richard Haka: Tips on How to Make a Copy.” Woodwind Quarterly 1: 120–33.
Bouterse, Jan. 1997. “Communication 1501: Four Baroque Recorders at Sotheby’s, November 1996.” FoMRHI Quarterly 86: 31–35. http://www.fomrhi.org/uploads/bulletins/Fomrhi-086.pdf.
Bouterse, Jan. 1997. “The Bolhuis Auction (1764).” FoMRHI Quarterly 89: 20–22. http://www.fomrhi.org/uploads/bulletins/Fomrhi-089.pdf.
Bouterse, Jan. 1998. “The Inventory of the Musical Instruments of Michel Charles Le Cene (1743).” FoMRHI Quarterly 90: 18–19. http://www.fomrhi.org/uploads/bulletins/Fomrhi-090.pdf.
Bouterse, Jan. 1999. “Die Baßblockflöten von Thomas Boekhout [The Bass Recorders of Thomas Boekhout].” Tibia 24 (2): 457–61. http://www.moeck.com/uploads/tx_moecktables/1999-2.pdf.
Bouterse, Jan. 2000. “Communication about Richard Haka’s Specification of the Delivery of 40 Woodwind Instruments to Sweden in 1685.” Journal of the American Musical Instrument Society 26: 243–50.
Bouterse, Jan. 2003. “Willem Beukers Senior (Utrecht 1666 – Amsterdam 1750) and Willem Beukers Junior (Amsterdam 1703-1781).” http://www.mcjbouterse.nl/dutch-ww-instruments/Beukers.pdf.
Bouterse, Jan. 2006. “Communication 1953: Reports of Woodwind Instruments in Dutch Sale Catalogues and Inventories between 1700 and 1830.” FoMRHI Quarterly 120: 3–5. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-120/Comm%201953.pdf.
Bouterse, Jan. 2010. “Communication 1898: Five Alto Recorders by Bressan: Windways and Blocks.” FoMRHI Quarterly 115: 16–26. http://www.fomrhi.org/uploads/bulletins/Fomrhi-115.pdf.
Bouterse, Jan. 2011. “Communication 1929: Alto Recorders by Bressan.” FoMRHI Quarterly 118: 5–16. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-118/Comm%201929.pdf.
Bouterse, Jan. 2010. “Communication 1910: Bressan Alto Recorders: Pitch and Sound; and Some Tips to Make a Copy.” FoMRHI Quarterly 116: 15–24. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-116/Comm%201910.doc.
Bouterse, Jan. 2009. “Communication 1880: Recorder Research: Windway Design.” FoMRHI Quarterly 113: 26–35. http://www.fomrhi.org/uploads/bulletins/Fomrhi-113.pdf.
Bouterse, Jan. 1980. “Correcties op bestaande blokfluit en traverso tekeningen [Corrections to Existing Recorder and Flute Drawings].” Bouwbrief 19: 5.
Bouterse, Jan. 1999. “Thomas Lerch: Vergelijkend onderzoek aan borings profielen van barok blokfluiten [Thomas Lerch: Comparative Study on Bore Profiles of Baroque Recorders].” Bouwbrief 95: 19–21.
Bouterse, Jan. 1978. “Meetgegevens Terton alt blokfluit Haags Gemeentemuseum [Measurements of a Terton Alto in the Haags Gemeentemuseum].” Bouwbrief 11: 13.
Bouterse, Jan. 1997. “Communication 1504: Review of Thomas Lerch’s Book: Vergleichende Untersuchung von Bohrungsprofilen Historischer Blockfloten Des Barock [Comparative Research of Bore Profiles of Historical Baroque Recorders].” FoMRHI Quarterly 87: 10–15. http://www.fomrhi.org/uploads/bulletins/Fomrhi-087.pdf.
Bouterse, Jan. 2011. “Over de maatvoering van de altblokfluiten van Bressan, en het maken van een kopie [On the Dimensions of Alto Recorders of Bressan, and How to Make a Copy].” Bouwbrief 140: 8.
Bouterse, Jan. 2011. “De Altblokfluiten van Bressan; over Het Oplossen van Enkele Technische Problemen En Het Maken van Wisselstukken [The Alto Recorders of Bressan, Solving Some Technical Problems in Making Copies].” Bouwbrief 143: 7.
Bouterse, Jan. 2006–2007. “Sopraninoblokfluiten [Sopranino Recorders], deel I: vroeg-barokke instrumenten, [part 1: Early-baroque Instruments]; deel 2, de barokinstrumenten, [part 2: Baroque Instruments].” Bouwbrief, 123: 10–13; 124: 12–15.
Bouterse, Jan. 2009. “Communication 1835: Jan Steenbergen and His Oboes.” FoMRHI Quarterly 111: 5–15. http://www.fomrhi.org/uploads/bulletins/Fomrhi-111.pdf.
Bouterse, Jan. 2010. “Intoneren van blokfluiten [Recorder Intonation], deel 3: welvingen van kernspleten van vijf alten van Bressan. [part 3: Windway curvature in five Bressan altos], bijlage – aanbevelingen bij het maken van een Bressan-kopie. [Recorder Intonation, Appendix: Some Tips on How to Make a Bressan Copy].” Bouwbrief 136: 12, 18.
Bouterse, Jan. 2007. “Vroeg-barokke sopraninoblokfluiten: een aanvullend commentaar [Early-baroque Sopranino Recorders: an additional comment].” Bouw 124: 4.
Bouterse, Jan. 2007. “Die Renaissanceblockflöten der Sammlung alter Musikinstrumente des Kunsthistorisches Museums, boekrecensie [The Renaissance Recorders from the Musical-instrument Collection of the Kunsthistorisches Museum].” Bouwbrief 124: 1–22.
Bouterse, Jan. 1997. “Communication 1539: The Selhof Auction (1759).” FoMRHI Quarterly 89: 23–26. http://www.fomrhi.org/uploads/bulletins/Fomrhi-089.pdf.
Bouterse, Jan. 2020. “Communication 2135: Sound and Soul, the DVD about the Recorder Collection of Frans Brüggen.” FoMRHI Quarterly 150: 6 pages. https://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-150/Comm%202135.pdf
Bouterse, Jan, and Gerard Verloop. 2006. “Wind Instruments in Dutch Sale Catalogues between 1623-1850 Extracted by Jan Bouterse from the the Publications Het Muziekinstrument Op de Boekenveiling, 1623-1775, 1776-1810; 1811-1850, by Gerard Verloop.” http://www.mcjbouterse.nl/dissertatie-bestanden/VerloopBlaasinstrumenten.pdf.
Bowers, Jane. 1984. “The Hotteterre Family of Woodwind Instrument Makers.” In Concerning the Flute: Ten Articles about Flute Literature, Flute Playing, Flute Making and Flutists, edited by Rien de Reede, 33–54. Amsterdam: Broekmans en Van Poppel.
Boydell, Brian. 1979. “Another Bass Recorder by Bressan.” Galpin Society Journal 32: 131–33.
Brach, Manfred. 1990. “Communication 1007: How to Design a Recorder.” FoMRHI Quarterly 61: 40–47. http://www.fomrhi.org/uploads/bulletins/Fomrhi-061.pdf.
Brach, Manfred. 1993. “Von der alten Kunst, ‘auff allerhand Arth’ Blockflöten zu entwerfen [On the Ancient Art of Designing Recorders ‘of Sundry Kinds’].” Tibia 18 (4): 610–16. http://www.moeck.com/uploads/tx_moecktables/1993-4.pdf.
Brach, Manfred. 1990. “Communication 987: On Three Well-Proportioned Alto Recorders.” FoMRHI Quarterly 60: 35–40. http://www.fomrhi.org/uploads/bulletins/Fomrhi-061.pdf.
Brade, Christine. 1975. Die mittelalter Kernspaldloten Mittel- und Nordeuropas: Ein Beitrag zur prähistorischer und zur Typologie mittelalterlicher Kernspaltjloten [Medieval Duct Flutes of Central and Northern Europe: a Contribution to the Typology of Prehistoric and Medieval Duct Flutes]. Vol. 14. Göttinger Schriften zur Vor- und Frühgeschichte. Neumunster: Karl Wachholtz.
Brandão, Dolores Castorino. 2013. “Representação documentária de instrumentos musicais: contribuição para a organização do Museu Instrumental Delgado de Carvalho da Escola de Música da Universidade Federal do Rio de Janeiro (UFRJ).” Dissertation, Rio de Janeiro: Universidade Federal do Rio de Janeiro. http://objdig.ufrj.br/26/monograf/796553.pdf.
Bran-Ricci, Josiane. 1982. “Holzblasinstrumente im Museum des Conservatoire National Supérieur de Musique, Paris [Woodwind Instruments in the Museum of the Paris Conservatoire].” Tibia 7 (2): 128–31. http://www.moeck.com/uploads/tx_moecktables/1982-2.pdf.
Brandsch, Gottlieb. 1928. “Die Musik unter den Sachsen [Music Under the Saxons].” In Bilder aus der Kulturgeschichte der siebenbürger Sachsen, edited by Friedrich Teutsch, 2:313. Hermannstadt.
Brenner, Klaus-Peter. 2009. “Musikinstrumentensammlung des Musikwissenschaftlichen Seminars der Georg-August-Universität Göttingen Bestandskatalog.” http://www.uni-goettingen.de/de/71170.html.
Bridge, Joseph Cox. 1901. “The Chester Recorders.” Proceedings of the Musical Association 27: 109–20.
Brown, Adrian. 2006. “The Ganassi Recorder: Separating Fact from Fiction.” American Recorder 47 (5): 11–18.
Brown, Adrian. 2006. “Einblick in die Blockflöten des Kunsthistorischen Museums Wien aus der Perspektive des Blockflötenbauers [Insights into the Recorders of the Kunsthistorisches Museum Vienna from the Perspective of a Recorder Maker].” In Die Renaissanceblockflöten der Sammlung alter Musikinstrumente des Kunsthistorischen Museums. Sammlungskataloge de Kunstihistorischen Museums, edited by Beatrice Darmstädter, 97–121. Vienna & Milan: Kunstihistorisches Museum Wien & Edition Skira.
Brown, Adrian. (2005) 2024. “Renaissance Recorders Database.” http://www.adrianbrown.org/database/.
Brown, Adrian. 2005. “Die ‘Ganassiflöte’ – Tatsachen und Legenden [The ‘Ganassi Recorder’ – Facts and Fiction].” Tibia 30 (4): 571–84.
Brown, Adrian. 2005. “An Overview of the Surviving Renaissance Recorders.” In Musique de Joye: Proceedings of the International Symposium on the Renassiance Flute and Recorder Consort. Utrecht 2003, edited by David R.G. Lasocki, 77–98. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
Brown, Adrian. 2005. “A List of Surviving Renaissance Recorders.” In Musique de Joye: Proceedings of the International Symposium on the Renassiance Flute and Recorder Consort. Utrecht 2003, edited by David R.G. Lasocki, 553–537. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
Brown, Adrian. 2004. “Eine Blockflöte von Richard Haka, Gefunden im Jahre 2003 in Amsterdam [A Recorder by Richard Haka, Found in 2003 in Amsterdam].” Tibia, no. 3: 187–90. http://www.moeck.com/uploads/tx_moecktables/2004-3.pdf. In English as “A Recorder by Richard Haka in Amsterdam”, Galpin Society Newsletter 10: 10-12 (2004).
Brown, Adrian. 2002. “Two Recent Recorder Finds in Italy.” Galpin Society Newsletter 4: 6–7. In German as “Zwei neue Blockflötenfunde in Italien.” Tibia, 3/2003: 500–502.
Brown, Adrian, and David R.G. Lasocki. 2007. “Blockflötenbau der Renaissance [Renaissance Recorder Makers].” Tibia, 1: 322–28; 2: 402–12; 3: 482–88; 4: 562–66. http://www.instantharmony.net/Music/tibia.php.
Brown, Adrian, and David R.G. Lasocki. 2006. “Renaissance Recorders and Their Makers.” American Recorder 46 (1): 23–35. http://www.instantharmony.net/Music/AR-01-2006.pdf.
Brown, M.E.A. 1902–1907. Catalogue of the Crosby Brown Collection of Musical Instruments of All Nations. New York: Metropolitan Museum of Art.
Bruckner, Hans. 1978. “Die Pfeifenmacher Walch in Berchtesgaden [The Pipe Maker Walch in Berchtesgaden].” Sänger und Musiktanzenzeitung 21 (2): 55–56.
Bruckner, Hans. 1979. “Die Pfeifenmacherei in Berchtesgaden [Pipe-making in Bertchtesgaden].” Tibia 4 (2): 289–96. http://www.moeck.com/uploads/tx_moecktables/1979-2.pdf.
Bruckner, Martha. 1941. “Die Musikinstrumente des Baron Brukenthalischen Museums [Musical Instruments in the Brukenthal Museum].” Mitteilungen aus Baron Brukenthalischen Museum 8: 48–56.
Brüggen, Frans. 1999. “Morgan ist tot [Morgan is Dead].” Tibia 24 (3): 558. http://www.moeck.com/uploads/tx_moecktables/1999-3.pdf.
Buchner, Alexandr. 1961. Musical Instruments through the Ages. London: Artia.
Buchner, Alexandr. 1981. Handbuch der Musikinstrumente [Handbook of Musical Instruments]. Hanau: Dausien Verlag.
Burakoff, Gerald. 1990. “An Interview with Nobuo Toyama.” American Recorder 31 (1): 15–17.
Burgess, Geoffrey. 2015. Well-Tempered Woodwinds: Friedrich von Huene and the Making of Early Music in a New World. Bloomington & Indianapolis: University Press.
Burney, Charles. 1773. The Present State of Music in Germany, the Netherlands and United Provinces. 2 vols. London: T. Becket and Co., J. Robson, G. Robinson. https://archive.org/details/presentstateofmu00burn.
Byrne, Maurice. 1983. “Pierre Jaillard, Peter Bressan.” Galpin Society Journal 36 (March): 2–28.
Byrne, Maurice. 1992. “Some More on Stanesby Junior.” Galpin Society Journal 45 (March): 115–22.
Byrne, Maurice. 1983. “Peter Bressan.” Recorder & Music 7 (10): 250.
Byrne, Maurice. 1984. “More on Bressan.” Galpin Society Journal 37: 102–11.
Cambell, Margaret. 1975. Dolmetsch: The Man and His Work. London: Hamish Hamilton.
Carlick, Brian. 1975. “The Carlick Dordrecht Recorder.”
Carreras, Francesco. 2006. “Flute Making in Italy during the Eighteenth and Early Nineteenth Centuries.” Geschichte, Bauweise Und Spieltechnik Der Qüerflöte 74: 71–102.
Carreras, Francesco. 2009. Il Flauto traverso in Italia: Tre secoli di storia nella Collezione Carreras = Flute-making in Italy: Three Centuries of History in the Carreras Collection: MUSA, Museo degli strumenti musicali dell’Accademia nazionale di Santa Cecilia, 10 settembre – 1 ottobre 2009. Rome: Accademia nazionale di Santa Cecilia, Fondazione.
Carreras, Francesco, and Cinzia Meroni. 2008. “Giovanni Maria Anciuti: A Craftsman at Work in Milan and Venice.” Recercare 20 (1-2): 181–215.
Castellani, Marcello. 1997. “I flauti nell’inventario di Lorenzo il Magnifico (1492) [Flutes in the Inventory of Lorenzo the Magnificent (1492)].” In Sine musica nulla vita: Festschrift Hermann Moeck zum 75. Geburtstag am 16. September 1997, edited by Nikolaus Delius, 185–91. Celle: Moeck Verlag und Instrumentenwerk.
Cawley, Margaret E. 1971. “Ernst Stieber, Tuebingen: 50 Years an Instrument Maker.” American Recorder 12 (4): 113–22.
Cervelli, Luisa. 1994. La Galleria Armonica: catalogo del Museo degli Istrumenti Musicali di Roma [La Galleria Armonica: Catalogue of the Museum of Musical Instruments in Rome]. Rome: Istituto Poligrafico e Zecca dello Stato.
Cervelli, Luisa, and John H. van der Meer. 1982. Antichi Strumenti Musicali: Catalogo Del Fondo Musicale Del Museo Civico Di Storia E Arte Medievale E Moderna Di Modena. Modena: Mucchi.
Corcoran, Ronald E. 1965. “Did Recorder Playing ‘Die Out’ in Britain?” Recorder and Music Magazine 1 (9): 261.
Crane, Frederick. 1972. Extant Medieval Instruments, a Provisional Catalogue by Types. Iowa City: University of Iowa Press.
Cranmore, Tim. 2007. “Two Stanesby Junior Tenor Fourth Flutes – a Comparison.” http://members.iinet.net.au/~nickl/stanesby.html.
Darmstädter, Beatrice. 2005. “New Light on the Early Recorders in the Sammlung Alter Muskinstrumente of the Kunsthistorisches Museum, Vienna, and Their Provenance.” In Musique de Joye: Proceedings of the International Symposium on the Renassiance Flute and Recorder Consort. Utrecht 2003, 99–115. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
Darmstädter, Beatrice. 2004–2005. “Zu den frühen Blockflöten der Sammlung alter Musikinstrumente des Kunsthistorischen Museums in Wien.” Jahrbuch des Kunstihistorischen Museums 5-6: 161–79.
Darmstädter, Beatrice, and Adrian Brown. 2006. Die Renaissanceblockflöten der Sammlung alter Musikinstrumente des Kunsthistorischen Museums [The Recorders of the Kunsthistorisches Museum Vienna]. Vol. Bd. 3. Sammlungskataloge des Kunsthistorischen Museums. Milan: Kunstihistorisches Museum Wien / Edition Skira.
Darmstädter, Beatrice, and Wiebke Lüders. 2008. “Über die Wiederherstellung eines bedeutsamen Blockflötenköchers [The Restoration of a Historically Significant Recorder Case].” Tibia 33 (2): 95–105.
Dart, Thurston. 1957. “Bressan and Schickhardt.” Galpin Society Journal 10: 85–86.
Degen, Johannes Dietz. 1936/1972. Zut Geschichte der Blockflöte in den germanaischen Läandern [The History of the Recorder in Germanic Countries]. Kassel: Bärenreiter.del Valle, Raúl Arias. 1990. La Orquesta de La S.I. Catedral de Oviedo (1572–1933). En Los Orígenes Y Desarrollo de La Música Culta En Asturias. Oviedo: Real Instituto de Estudios Asturianos.
Delius, Nikolaus, ed. 1997. Sine musica nulla vita: Festschrift Hermann Moeck zum 75. Geburtstag am 16. September 1997 [Without Music, No Life: Festschrift for Hermann Moeck on his 75th Birthday on 16 September 1997]. Celle: Moeck Verlag und Instrumentenwerk.
Denecker, Patrick. 1997. “De blokfluit in de 19de eeuw [The Recorder in the Nineteenth Century].” Musica antiqua 14 (4): 167–72.
Dobbins, F. 1992. Music in Renaissance Lyons. Oxford: Clarendon Press.
Doht, Julia. 2006. “Die Göttinger Blockflöte [The Götingen Recorder].” Tibia 31 (2): 105–7.
Dolmetsch, Carl F. 1956. “The Recorder and German Flute during the Seventeenth and Eighteenth Centuries.” Proceedings of the Royal Musical Association 83: 49.
Dolmetsch, Carl F. 1976. “Cataclysms and the Chester Recorders.” Recorder and Music 5 (6): 192–93.
Dolmetsch, Carl F. 1996. “The Recorder in Evolution.” Recorder Magazine 16 (2): 56–57.
Dopadlik, Adam J. 1998. “An Interview with Carl Hanson.” Recorder Magazine 18 (3): 94–96.
Duckles, Vincent H., and Ida Reed. 1997. Music Reference and Research Materials: An Annotated Bibliography. 5th ed. New York: Schirmer.
Dudok van Heel, S.A.C., and Marieke Teutscher. 1974. “Amsterdam als centrum van ‘fluytenmakers’ in de 17e en 18e eeuw.” In Historische blaasinstrumenten: De ontwikkeling van de blaasinstrumenten vanaf 1600, Kasteel Ehrenstein te Kerkrade, 6-28 Juli 1974, 53–56. The Hague: Haags Gemeentemuseum, Gemeente Kerkrade, Wereldmuziekconcours Kerkrade.
Duhot, Jean-Joël. 1986. “Facture, restauration, recherche: Claire Soubeyran [Manufacture, Restoration, Research: Claire Soubeyran].” Flüte à bec & instruments anciens 17: 18–21.
Duhot, Jean-Joël. 1989. “Une énigme musicale résolue? La flûte de van Eyck. Jean-Joël Duhot a rencontré Irmgard et Aksel Mathiesen [A Musical Enigma Solved? The van Eyck Recorder. Jean-Joël Duhot Meets Irmgard and Aksel Mathiesen].” Flûte à bec & instruments anciens 37: 9–11.
Dullat, Günther. 1990. Holzblasinstrumentenbau: Entwicklungsstufen und Technologien [Woodwind Instrument Making: Stages of Development and Technology]. Celle: Moeck.
Dullat, Günther. 2010. Verzeichnis der Holz- und Metallblasinstrumentenmacher auf deutschsprachigem Gebiet von 1500 bis Mitte des 20. Jahrhunderts [Directory of Wood and Metal Wind Instrument Makers in the German-speaking Territory from 1500 to the Middle of the 20th Century.] Tutzing: H. Schneider.
Ehlert, Ralf, and Sabine Haase-Moeck. 1999. “The Charles Darwin of Early Music: Friedrich von Huene im Gespräch mit Ralf Ehlert und Sabine Haase-Moeck [The Charles Darwin of Early Music: Friedrich von Huene in Conversation with Ralf Ehlert and Sabine Haase-Moeck].” Tibia 24 (2): 443–49. http://www.moeck.com/uploads/tx_moecktables/1999-2.pdf.
Ehrlich, Robert. 2021. The Great German Recorder Epidemic, Reinventing the Recorder, 1925-1950. Essay Series 1. Portland, Oregon: Instant Harmony. https://davidlasocki.com/store/Ehrlich-The-Great-German-Recorder-Epidemic-Reinventing-the-Recorder-1925%E2%80%931950-p319807060.
Epstein, Peter. 1927. Katalog der Musikinstrumente im Historischen Museum der Stadt Frankfurt am Main [Collection of Ancient Musical Instruments]. Frankfurt-am-Main: Historisches Museum.
Eschler, Thomas J. 1993. Die Sammlung historischer Musikinstrumente des Musikwissenschaftlichen Instituts der Universität Erlangen-Nürnberg [The Historical Musical Instrument Collection of the Musicology Institute of Erlangen-Nürnberg University]. Wilhelmshaven: Florian Noetzel.
Eschler, Thomas J. 1983. “The Collection of Historical Musical Instruments of the University of Erlangen: A Checklist.” Galpin Society Journal 36: 115–24.
Falletti, Franca, Renato Meucci, and Gabriele Rossi-Rognoni. 2007. Meraviglie sonore strumenti musicali del barocco italiano [Marvels of sound and beauty, Italian baroque musical instruments]. Florence: Giunti, Firenze Musei.
Falletti, Franca, Renato Meucci, and Gabriele Rossi‐ 2009. Marvels of Sound and Beauty, Italian Baroque Musical Instruments. Florence: Giunti Editore.
Fantelli, P., and P.L. Fantelli. 1982. “L’inventario della collezione Obizzi al Catajo.” Bolletino del Museo Civico di Padova, 101–237.
Farleigh, John. 1950. “Carl Dolmetsch and Leslie Ward: Musical Instrument Makers, Haslemere.” In Creative Craftsman, 168–86. London: G. Bell & Sons.
Feldhaus, Hanne. 1980. “Robert Wijne (1608-1774), Holzbasinstrumentenmacher in Nijmegen: Biographisches und Bemerkungen über eine Sopranblockflöte von ihm [Robert Wijne (1698-1774), Woodwind Instrument Maker in Nimjegen: Biography and Observations on a Soprano Recorder of His].” Tibia 5 (3): 161–64. http://www.moeck.com/uploads/tx_moecktables/1980-3.pdf.
Ferrari, Pierluigi. 1994. “Cercando strumenti musicali a Norimberga: Ferdinando de’ Medici, Cristoforo Carlo Grundherr, Johann Christoph Denner e Jacob Denner.” Recercare 6: 203–20.
Fitzpatrick, Horace. 1975. “The Medieval Recorder.” Early Music 3 (4): 361–64.
Fitzpatrick, Horace. 1968. “Jacob Denner’s Woodwinds for Göttweig Abbey.” Galpin Society Journal 21: 81–87.
Fjordside, Per. 1986. “No E 78: ‘Meget sjældent Stykke’: en bassetblokfløjte fra midten af 1500-tallet [No. E 78: ‘A very rare piece’]. A basset recorder from the mid-1500s].” Meddelelser fra Musikhistorisk Museum og Carl Claudius’ Samling 3: 6–16.
Folkers, Catherine, and A. Richard Turner. 1984. “Tenor Recorder (Voice Flute) by John Neale (Dublin, ca. 1730).” Boston: Museum of Fine Arts
Forneris, J., and B. Debrabandère. 1991. La Musique et la Peinture 1600-1900, trois siècles l’iconographie musicale. Oeuvres des collections publique Français [Music and Painting 1600-1900, Three Centuries of Muscial Iconography. Works from French Public Collections]. Nice: Musée des Beaux Arts.
Freemanová, Michaela. 2008. “Bohemian Flutes and Flutemakers.” In Geschichte, Bauweise Und Spieltechnik Der Querflöte: 27. Musikinstrumentenbau-Symposium Michaelstein, 6. Bis 8 . Oktober 2006 [[History, Construction, and Playing Technique of the Flute: 27th Musical Instrument-Making Symposium, Michaelstein, 6–8 October 2006], edited by Hans Schmuhl von Boje and Monika Lustig, Bd. 74:103–10. Michaelsteiner Konferenzberichte. Augsburg: Wissner; Michaelstein: Stiftung Kloster Michaelstein—Musikinstitut für Aufführungspraxis, 2008.
Freemanová, Michaela, and David Freeman. 2005. “Rare Instruments in the Bohemian Collections.” In Musikalische Aufführungspraxis in Nationalen Dialogen Des 16. Jahrhunderts.. Teil 2: Musikinstrumentenbau-Zentren Im 16. Jahrhundert, edited by E. Hans Schmuhl von Boje and Monika Lustig, 72:237–60. Augsburg: Wissner; Michaelstein: Stiftung Kloster Michaelstein.
Frieberger, Rupert G., ed. 1979. Schlägler Orgelkonzerte: Jubiläumsschrift zu den 10. Schlägler Orgelkonzerte [Schlägl Organ Concerts: Tenth Anniversary Publication]. Vol. 1. Musikwissenschaftliche Beiträge der Schlägler Musikseminare,. Rum bei Innsbruck: Helbling.
Furusho, Takayasu. 1969–1974. Catalogue, Museum of Musical Instruments, Musashino Academia Musicae. 5 vols. Tokyo: Musashino Ongaku Daigaku.
Gabry, Gyorgy. 1969. Old Musical Instruments. Translated by Eva Racz. Budapest: Corvina Press.
Gai, Vinicio. 1969. Gli strumenti musicali della corte Medicea e il museo del conservatorio (Luigi Cherubini) di Firenze [The Musical Instruments of the Medici Court and the Museum of the Conservatory (Luigi Cherubini) Florence]. Florence: Licosa.
Gallini, Natale, and Franco Gallini. 1963. Museo degli stumenti musicali, catalogo [Museum of Musical Instruments, Catalogue]. Milan: Comune di Milano.
Gandolfi, Riccardo, and Valter Biella. 2012. “Flauto appartenuto a Angelo Vagge ‘Angin’, ‘Langin’: 1849-1936.” http://www.baghet.it/Flauto%20di%20Montoggio.pdf.
Garden, Greer. 1972. “Models of Perfection: Woodwind Instruments from the Museum of the Paris Conservatoire.” Recorder and Music Magazine 4 (4): 116–17.
Geissmann, Annemarie. 1990. “Der Blockflötenbau in der Schweiz [Recorder-making in Switzeralnd].” Tibia 15 (1): 43–44. http://www.moeck.com/uploads/tx_moecktables/1990-1.pdf.
Gétreau, Florence. 2007. “Instrument Making in Lyon and Paris around 1600.” In Musikalische Aufführungspraxis in Nationalen Dialogen Des 16. Jahrhunderts, Teil 2: Musikinstrumentenbau-Zentren Im 16. Jahrhundert, 26. Musinstrumentenbau-Symposium Michaelstein, 6. Bis 8, 72:179–213. Michaelsteiner Konferenzberichte. Augsburg: Wissner; Michaelstein: Stiftung Kloster Michaelstein.
Giannini, Tula. 1993. “Jacques Hotteterre Le Romain and His Father, Martin: A Re-Examination Based on Recently Found Documents.” Early Music 21 (3): 377–195.
Giannini, Tula. 1993. Great Flute Makers of France: The Lot and Godfroy Families, 1650-1900. London: Tony Bingham.
Gilliam, Laura E., and Wiliam Lichtenwanger. 1961. The Dayton C. Miller Flute Collection: A Checklist of the Instruments. Washington, D.C.: Library of Congress.
Gilliodts-Van Severen, Louis. 1904. “Entry 1153.” In Cartulaire de l’ancienne estaple de Bruges, 1:203. Bruges: Louis de Plancke. https://archive.org/details/cartulairedelan01sevegoog.
Glassgold, Cook. 1962. “Another Anachronism?” American Recorder 3 (3): 15–16.
Green, David H. 1997. “In Memoriam: Carl Dolmetsch (1911-1997).” Chrestologia 22 (3). http://www.aswltd.com/chresto97oct.htm.
Green, David H. 1996. “Adler-Heinrich Bell Recorders.” Chrestologia 21 (2): 6–9, 24.
Gregorio, Vincenzo de. 1983. “Flauto a becco sopranino del secolo XVII [A 17th-century Sopranino Recorder].” Il flauto dolce 9 (June): 36–37.
Griscom, Richard W., and David R.G. Lasocki. 2013. “The ‘Ganassi’ Recorder Controversy: A Cautionary Tale.” In The Recorder: A Guide to Writings about the Instrument for Players and Researchers, 3rd ed., 260–65. Routledge Music Bibliographies. New York & London: Routledge.
Griscom, Richard W., and David R.G. Lasocki. 2013. The Recorder: A Research and Information Guide. 3rd ed. Routledge Music Bibliographies. New York, London: Routledge.
Guidecoq, Paul. 1982. “Les buis de La Couture: aux tourneurs qui créèrent la flûte à bec [The Boxtrees of La Couture: on the Turners who Created the Recorder].” Flûte à bec 5: 14–18.
Guttormsen, Sissel, Petter A. Kjeldsberg, and Jon Voigt. 1988. Ringve Museum Trondheim. Trondheim: Ringve Museum.
Hailperin, Paul. 1975. “Current Register of Historic Instruments.” Galpin Society Journal 28: 130–32.
Haine, Malou, and Nicolas Meeús. 1985. Catalogue des instruments Sax au musée instrumental de Bruxelles … Brussels: Musée Instrumental.
Hakelberg, Dietrich. 2002. “Was von einer ‘Klangschaft’ blieb? [What Remains of a Soundscape?].” Archäologie in Deutschland – Das Magazin 4: 31–32. http://www.aid-magazin.de/Was-von-einer-Klangschaft-blieb.1723.0.html?&L=0&no_cache=1&sword_list[0]=hakelberg.
Hakelberg, Dietrich. 1995. “Some Recent Archaeo-Organological Finds in Germany.” Galpin Society Journal 48: 3–12.
Halfpenny, Eric. 1955. “The Bass Recorders of Bressan.” Galpin Society Journal 8: 27–31.
Halfpenny, Eric. 1956. “The English Baroque Treble Recorder.” Galpin Society Journal 9: 82–90.
Halfpenny, Eric. 1959. “Biographical Notices of the Early English Woodwind-Making School, c.1650–1750.” Galpin Society Journal 12 (May): 44–52.
Halfpenny, Eric. 1960. “Further Light on the Stanesby Family.” Galpin Society Journal 13: 59–69.
Halfpenny, Eric. 1962. “Technology of a Bass Recorder.” Galpin Society Journal 15: 49–54.
Halfpenny, Eric. 1964. “An Eighteenth Century Trade List of Musical Instruments.” Galpin Society Journal 17: 99.
[Halfpenny, Eric.] “Woodwind Instruments by Peter I. Bressan.” 1964. Galpin Society Journal 17: 106–7.
Halfpenny, Eric. 1977. “Musical Instruments [at Waddeston Manor].” Apollo 184: 446–51.
Harlan, Peter. 1953. “The Origin of German Fingering.” Recorder News 8: 9.
Hanson, Sue, and Ruth Burbidge. 2014. “Carl (Dudley) Hanson.” Recorder Magazine 34 (3): 19.
Harrison, Frank Llewellyn, and Joan Rimmer. 1964. European Musical Instruments. New York: Norton.
Hart, Günther. 1977. “Johann Heitz (1673-1737).” Tibia 2 (1): 207–8. http://www.moeck.com/uploads/tx_moecktables/1977-1.pdf.
Hauwe, Walter van. 1999. “In Memoriam Fred Morgan.” Tibia 23 (3): 558–59. http://www.moeck.com/uploads/tx_moecktables/1999-3.pdf.
Haynes, Bruce. 2001. The Eloquent Oboe, a History of the Hautboy from 1640 to 1760. Early Music Series. Oxford: Oxford University Press.
Haynes, Bruce. 2002. A History of Performing Pitch. The Story of “A.” Lanham MD: Scarecrow Press.
Haynes, Bruce. 2007. “The Accommodating Recorder.” In Recorders Based on Historical Models. Fred Morgan – Writings and Memories, edited by Gisela Rothe. Fulda: Mollenhauer.
Haynes, Bruce. 1991. “Communication 1039: Appeal for Pitches of Original Traversos and Recorders.” FoMRHI Quarterly 63: 56–60. http://www.fomrhi.org/uploads/bulletins/Fomrhi-063.pdf.
Haynes, Bruce. 1985. “Johann Sebastian Bach’s Pitch Standards: The Woodwind Perspective.” Journal of the American Musical Instrument Society 11: 55–114.
Haynes, Bruce. 2003. “The King’s Chamber Pitch.” Early Music Performer 12: 13–23.
Haynes, Bruce. 1995. “Pitch Standards in the Baroque and Classical Periods.” Ph.D. dissertation, Montreal: Université de Montréal.
Head, Jacob. 2015. “The English Flageolet.” The Pleasant Companion: The Flageolet Site. http://www.flageolets.com/articles/introduction/english.php.
Heinzl, Brigitte. 1981. Die Musikinstrumentensammlungder Oberösterreichischen Landesmuseums: eine Erzgönzung zu Othmar Wessely [The Musical Instrument Collection of the Oberösterreichischen Landesmuseums: an Addition to Othmar Wessely]. Linz: Oberösterreichischen Landesmuseums. http://www.landesmuseum.at/pdf_frei_remote/JOM_126a_0149-0170.pdf.
Henning, Uta. 1994. “Early Instruments in St Petersburg.” FoMRHI Quarterly 75: 36–39. http://www.fomrhi.org/uploads/bulletins/Fomrhi-075.pdf.
Henseler, Ewald, and M. Otse. 2010. “How the Recorder Came to Japan.” American Recorder 51 (1): 9–22. http://www.americanrecorder.org/docs/ARjan10body.pdf.
Herrman, Rüdiger. 2003. “Renaissance Blockflöten im Schlossmuseum Quedlinburg.” Tibia, no. 3: 503–6. http://www.moeck.com/uploads/tx_moecktables/2003-3.pdf.
Herzog, H.K. 1968. “2 Pole des Blockflötenbaues in Nord-Deutschland: Moeck–Celle und Roessler–Heide [Two Poles of Recorder Making in North Germany: Moeck–Celle and Roessler–Heide].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 17 (9): 1035–38.
Hess, Stanley. 1980. “Tone Building, Figuratively Speaking, with the Baroque Recorder.” American Recorder 21 (2): 55–59.
Heyde, Herbert. 1978. “Flöten.” In Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig Katalog, 1:55. Leipzig: VEB Deutscher Verlag für Musik.
Heyde, Herbert. 1980. Katalog zu den Sammlungen des Händel-Hauses in Halle, 7. Teil: Musikinstrumentesammlung: Blassinstrumente, Orgeln, Harmoniums. Halle: Händel-Haus.
Heyde, Herbert. 1993. “Makers Marks on Wind Instruments.” In The New Langwill Index, edited by William Waterhouse, xii – xxxiii. London: Tony Bingham.
Heyde, Herbert. 1976. Historische Musikinstrumente im Bachhaus Eisenach. Eisenach: Bacchaus.
Heyghen, Peter van. 1999. “The role of the transposition and pitch in the transition from the g descant to the f-alto recorder.” In . Hochschule für Künste, Bremen: Unpublished.
Heyghen, Peter van. 1994. “De blokfluit in vroeg-17de-eeuws Italië [The Recorder in Italian Music].” Musica Antiqua, 11 (2): 76–85, (3): 116–25, (4): 156–92.
Heyghen, Peter van. 1995. “The Recorder in Italian Music, 1600–1670.” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht 1993, edited by David R.G. Lasocki, 3–63. Utrecht: STIMU Foundation for Historical Performance Practice.
Heyghen, Peter van. 1995. “The Recorder Consort in the Sixteenth Century: Dealing with the Embarrassment of Riches.” In The Recorder in the 17th Century. Proceedings of the International Recorder Symposium. Utrecht, 27-30 August 1993, edited by David R.G. Lasocki, 227–321. Utrecht: STIMU Foundation for Historical Performance Practice.
Higbee, Dale. 1978. “J.S. Bach’s Sonatas for Recorder and Harpsichord after BWV 525-530.” American Recorder 18 (4): 112–13.
Higbee, Dale. 1999. “On Playing the Baroque Treble Recorder in G Today.” Galpin Society Journal 52: 387–88.
Higbee, Dale. 1985. “On Playing Recorders in D: Being a Short History of the Odd-Sized Recorders and Concerning the Revival of the Voice Flute and Sixth Flute.” American Recorder 26 (1): 16–21.
Higbee, Dale. 1985. “A Left-Handed ‘voice Flute’ by Bressan.” Galpin Society Journal 28: 143.
Hijmans, Ita. 2005. “The Recorder Consort Ca. 1500: Pictures, Extant Instruments, and Repertoire.” In Musique de Joye. Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003, edited by David R.G. Lasocki, 203–25. Utrecht: STIMU Foundation for Historical Performance Practice.
Hijmans, Ita. 2015. “Instrument onbekend. De reconstructievan een blokfluitconsort uit het midden van devijf- tiende eeuw [Unknown instrument. The reconstruction of a recorder consort from the middle of the fifth century].” Madoc 29 (4): 230–40.
Hijmans, Ita. 2016. “Dordrecht-blokfluit.” Filling the gap: een 15e-eeuwse reconstructie in concert. 2016. https://fillingthegapreconstructionproject.wordpress.com/dordrecht-blokfluit/
Hijmans, Ita. 2016. “Filling the Gap, Eeen 15-Eeuwse Reconstructie in Concert.” 2016. https://fillingthegapreconstructionproject.wordpress.com/.
Homo, Catherine. 1986. “Les flûtes antiques et médiévales d’après les découvertes archéologiques.” Flûte a bec et instruments anciens 19: 5–7. https://www.flutes-a-bec.com/wp-content/uploads/2020/03/FABIA19.pdf
Homo-Lechner, Catherine. 1996. Sons et instruments de musique au moyen age: archéologie musicale dans l’Europe du VIIe au XIVe siècles [Sounds and Musical Instruments of the Middle Ages: Musical Archeology in Europe from the 7th to the 14th Century]. Collection des Hesperides. Paris: Editions Errance.
Homo-Lechner, Catherine. 1987. “Antike und mittelalterliche Flöten aus archäologischen Entdeckungen.” Tibia, no. 1: 321–25. http://www.moeck.com/uploads/tx_moecktables/1987-1.pdf.
Horsch, Lucie, and Barbara M. Law. 2024. “The Frans Brüggen Project: Lucie Horsch Talks to Barbara Law.” Recorder Magazine 44 (4): 11–14.
Huene, Friedrich von. 1974. “Makers’ Marks from Renaissance and Baroque Woodwinds.” Galpin Society Journal 27: 31–47.
Huene, Friedrich von. 1997. “Eine Altblockflöte von Scherer; Scherers in Butzbach [An Alto Recorder by Scherer: The Scherers of Butzbach].” In Sine musica nulla vita: Festchrift Hermann Moeck zum 75, Sine musica nulla vita: Festchrift Hermann Moeck zum 75. Celle: Moeck.
Hughes, Geoff. 2000. “Memories of the Early Life of Frederick Gilbert Morgan.” Recorder and Early Music [Australia] 24: 8–10.
Hul, D. 1990. Musical Iconography (RIdIM): European Musical Instruments in Prints and Drawings. Leiden: IDC Publishers.
Hunt, Edgar H. 1957. “The Voice Flute.” Galpin Society Journal 10: 86–87.
Hunt, Edgar H. 1963. “The Renaissance Bass [Recorder].” Recorder and Music Magazine 1 (1): 10–12.
Hunt, Edgar H. 1967. “Life of a Bressan.” Recorder and Music Magazine 2 (5): 157.
Hunt, Edgar H. 1969. “Ernst Stieber: Recorder Maker.” Recorder & Music 3 (4): 130.
Hunt, Edgar H. 1974. “A Hotteterre Tenor?” Recorder and Music 4 (9): 327.
Hunt, Edgar H. 1975. “Extant Musical Instruments – a Provisional Catalogue by Types, by Frederick Crane: University of Iowa Press, 1972 (Books).” Recorder and Music Magazine 4 (6): 245.
Hunt, Edgar H. 1979. “Bressan and the Stanesby’s [sic].” Recorder and Music 6 (7): 202.
Hunt, Edgar H. 1980. “Recorder.” In The New GROVE Dictionary of Music and Musicians, 1st ed. Vol. 15. London: Macmillan.
Hunt, Edgar H. 1982. “Arnold Dolmetsch, die Dolmetsch-Sammlung und das Familienunternehmen [Arnold Dolmetsch, the Dolmetsch Collection, and the Family Enterprise].” Tibia 7 (3): 198–200. http://www.moeck.com/uploads/tx_moecktables/1982-3.pdf.
Hunt, Edgar H. 1983. “Fitting the Instrument to the Music.” Recorder & Music 7 (9): 227–28.
Hunt, Edgar H. 1984. “Left-Handed Recorders by Bressan.” Galpin Society Journal 37: 121.
Hunt, Edgar H. 1985. “Ivory Recorders at the Monastery at Schlägl, Austria.” Recorder and Music Magazine 8 (5): 138–39.
Hunt, Edgar H. 2000. Recorders and Flageolets. Catalogue of the Edinburgh University Collection of Historic Musical Instruments. Vol. 2, Part D, Fasc. 1. Edinburgh: Edinburgh University Collection of Historic Musical Instruments (EUCHMI).
Hunt, Edgar H. (1962) 2002. The Recorder and Its Music. Revised and enlarged. Hebden Bridge: Peacock Press.
Ilg, Albert, and Wendelin Boeheim. 1882. Das k. k. Schloß Ambras in Tirol. Bescheibung des Gebäudes und der Sammlungen. Vienna: A. Holzhausen.
Jerome, Ted. 2002. “Orkon.” http://www.tjimaging.com/orkon/ Last accessed September 2016.
Joppig, Gunther. 1994. “Rubin Academy Collection of Musical Instruments.” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 43 (9): 60–61.
Joppig, Gunther. 1994. “Adler-Heinrich Blockflötenbau GmbH in Markneukirchen im Aufwind [The Adler-Heinrich Recorder Factory in Markneukirchen on the Rise].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 43 (11): 32–35.
Jürisalu, Heino. 1980. “Die Leningrader Sammlung und ihre Flöteninstrumente [The St Petersburg Collection and its Flutes and Recorders].” Tibia 5 (2): 105–7. http://www.moeck.com/uploads/tx_moecktables/1980-2.pdf.
Kadelbach, Ada. 1975. “Bauen Sie doch Blockflöten’ “You’re still making recorders].” Das Musikinstrument: internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 24 (6): 880–81.
Kälin, Walter, and Andreas Küng. 1996. “Der Melser Instrumentenmacher Christian Schlegel (1667-1746) [The Mels Instrument Maker Christian Schlegel (1667-1746)].” Intrada 2 (3): 5–10.
Karp, Cary. 1972. “Baroque Woodwind in the Musikhistoriska Museet, Stockholm.” Galpin Society Journal 25: 80–86.
Karstädt, Georg. 1958. Die Sammlung Alter Musikinstrumente in St.-Annen-Museum [The Collection of Ancient Instruments in the St.-Annen-Museum]. Lübecker Museumshefte 2. Lübeck: Museum für Kunst und Kulturgeschichte.
Kauert, K. 1994. “250 Jahre Blasinstrumentenbau im vogtländisch-westböhmischen Musikwinkel [250 Years of Wind-instrument Making in the West Bohemian (Vogtländ) Musical Region].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 43 (11): 6–13.
Kenworthy, C., ed. 1957. “Discovery.” Recorder News, New Series, no. 17: 1.
Kenyon de Pascual, Beryl. 1995. “The Recorder Revival in Late Seventeenth-Century Spain.” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht, 27-30 August 1993, edited by David R.G. Lasocki, 65–74. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
Kenyon de Pascual, Beryl. 1982. “Ventes d’instruments à vent à Madrid au 2e moitié du 18e siècle [Wind Instrument Sales in Madrid in the Second Half of the Eighteenth Century].” Bulletin de l’Association des Collectionneurs d’Instruments à Vent 15: 24–27.
Kenyon de Pascual, Beryl. 1987. “Bassano Instruments in Spain?” Galpin Society Journal 40: 74–75.
Kenyon de Pascual, Beryl. 1986. “The Wind-Instrument Maker, Bartolomé de Selma (d. 1616), His Family and Workshop.” Galpin Society Journal 39: 21–34.
Kenyon de Pascual, Beryl. 1987. “Gli strumenti musicali dell’Accademia filarmonica di Verona: Un approccio documentario [The musical instruments of the Accademia Filarmonica of Verona: a documentary approach].” Il flauto dolce 17-18: 3–17.
Kikuchi, Shun-ichi, and Osamu Yamaguchi. 1974. Catalogue [of The] Museum for Musical Instruments Musashino Academia Musicae. Vol. 2. Tokyo: Musashino Academia Musicae.
Kinsky, George. 1913. Musikhistorisches Museum von Wilhelm Heyer in Cöln: Kleiner Katalog der Sammlung alter Musikinstrumente. Cologne: Breitkopf & Härtel.
Kirk, Douglas. 1989. “Cornetti and Renaissance Pitch Standards in Italy and Germany.” Journal de Musique Ancienne 10 (4): 16–22.
Kirnbauer, Martin. 2002. “Musikzeugnisse des Mittelalter [Musical Finds from the Middle Ages].” Archäologie in Deutschland 6: 54–55.
Kirnbauer, Martin. 2015. “Denner.” In Grove Music Online, Oxford Music Online. Oxford: Oxford University Press. Accessed August 18. http://www.oxfordmusiconline.com.
Kirnbauer, Martin. 1994. Verzeichnis Der Europäischen Musikinstrumente Im Germanischen Nationalmuseum Nürnberg [An Index of the European Musical Instruments in the Germanische Nationalmuseum, Nuremberg.] Band 2: Flöten- Und Rohrblattinstrumente Bis 1750 [Flute and Reed Instruments to 1750]. Quellenkataloge Zur Musikgeschichte 24. Wilhelmshaven: Florian Noetzel.
Kirnbauer, Martin. 1995. “‘No Smoke without Fire’: An Approach to Nuremberg Recorder Making in the Seventeenth Century.” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht, 27-30 August 1993., edited by David R.G. Lasocki, 91–103. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
Kirnbauer, Martin. 2001. “Die Blockflöten Sammlung im Musikmuseum, Basel.” Windkanal, no. 1: 24–29. http://www.windkanal.de/images/stories/PDF/2001-1/0101-musikmuseumBasel.pdf.
Kirnbauer, Martin. 2014. “‘Wieder ein neues Gebiet, und des Lernens ist auch da kein Ende’– Zum Andenken an Rainer Weber (1927-2014).” Tibia 39 (3): 194–96.
Kirnbauer, Martin. 1993. Katalog der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nurnberg, Bd 2: Die Holzbasinstrumente bis 1750 [Catalogue of European Musical Instruments in the German National Museum, Nurenberg. Vol. 2: The Woodwind Instruments to 1750]. Wilhelmshaven: Florian Noetzel Verglag.
Kirnbauer, Martin. 1994. “Die Holzblasinstrumente der ‘Bogenhauser Künstler-Kapelle’ [The Woodwind Instruments of the Bogenhausen Künstlerkapelle].” In Flöten, Oboen und Fagotte des 17. und 18. Jahrhunderts: Bericht über den 1. Teil des 12. Symposiums zu Fragen des Musikinstrumentenbaus Michaelstein, 08./09. November 1991, 21–30. Michaelstein: Institut für Aufführungspraxis.
Kirnbauer, Martin. 1989. “Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseums in Nürnberg [Historical Woodwind Instruments in the Collection of the German National Museum in Nuremberg].” Tibia 14 (2): 424–29. http://www.moeck.com/uploads/tx_moecktables/1989-2.pdf.
Kirnbauer, Martin. 1992. “Überlegungen zu den Meisterzeichen Nürnberger ‘Holzblasinstrumentenmacher’ im 17. und 18. Jahrhundert [Reflections on the Makers’ Marks of the Nuremberg Woodwind Instrument Makers in the Seventeenth and Eighteenth Centuries].” Tibia 17 (1): 9–20. http://www.moeck.com/uploads/tx_moecktables/1992-1.pdf.
Kirnbauer, Martin, and Vernonika Gutmann. 1992. “‘Das war Pionierarbeit’—Die Bogenhauser Künstlerkapelle, ein frühes Ensemble alter Musik” [’That was Pioneering Work’—The Bogenhausen Künstkapelle, an Early Ensemble for Early Music].” In Alte Musik: Konzert und Rezeption. Sonderband der Reihe “Basler Jahrbuch für historische Musikpraxis” zum 50. Jubiläum des Vereins der “Freunde alter Musik in Basel, 37–67. Winterthur: Amadeus.
Kirnbauer, Martin, and Dieter Krickeberg. 1987. “Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650 und 1750 [Investigations into Nuremberg Recorders of the Period 1650–1750].” In Anzeiger des Germanischen Nationalmuseums, 245–81. Nuremburg: Germanische Nationalmuseum.
Kirnbauer, Martin, and Dieter Krickeberg. 1987. “Musikinstrumentenbau im Umkreis von Sophie Charlotte [Musical Instrument Making in the Circle of Sophie Charlotte].” In Sophie Charlotte und die Musik in Lietzenburg. Berlin: Staatliches Institut für Musikforschung Preussischer Kulturbesitz.
Kirnbauer, Martin, and Crawford Young. 2001. “Musikinstrumente aus einer mittelalterlichen Latrine.” Institutsbeilage der Schola Cantorum.
Kirnbauer, Martin, Peter Thalheimer, and Catherine Taylor. 1995. “Jacob Denner and the Development of the Flute in Germany.” Early Music 23 (1): 82–100.
Klemisch, Guido M. 1997. “Die Kernspaltflöte um 1500 [The Duct Flute Around 1500].” In Heinrich Isaac und Paul Hofhaimer im Umfeld von Kaiser Maximilian I: Bericht über die vom 1. bis Juli 1992 in Innsbruck abgehaltene Fachtagung, edited by Walter Salmen, 95–100. Innsbrucker Beiträge zur Musikwissenschaft 16. Innsbruck: Edition Helbling.
Klemisch, Guido M. 1992. “Zur Bauweise Der Blockflöte Um 1700 Und Möglichkeiten Des Nachbaus.” In SAIM, 47. Supplemennt 12. Michaelstein/Blankenburg.
Koch, John. 1971. “William Koch: 1892–1970.” American Recorder 12 (1): 5–9.
Köhler, Wolfgang. 1987. Die Blasinstrumente aus der “Harmonie Universelle” des Marin Mersenne: Übersetzung und Kom-mentar des “Livre cinquiesme des instrumens à vent” aus dem “Traité des instruments” [The Wind Instruments from Marin Mersenne’s “Harmonie Universelle”: Translation of and Commentary on the “Livre cinquiesme des instrumens à vent” from the “Traité des instruments”]. Celle: Edition Moeck 4038.
Köhler, Wolfgang. 1988. “Die Blasinstrumente aus der ‘Harmonie Universelle’ des Marin Mersenne und ihre Bedeutung für die Aufführungspraxis heute [The Wind Instruments from Marin Mersenne’s ‘Harmonie Universelle’ and their Significance for Performance Practice Today].” Tibia 13 (1): 1–14. http://www.moeck.com/uploads/tx_moecktables/1988-1.pdf.
Kolberg, Sverre. 1987. Figurazione; Buch II: Eine Einführung in die Blockflötenbau-technik [An Introduction to Recorder Technology]. Oslo: Verlag Super Librium.
Kolberg, Sverre. 1989. Ornamental Metrics of Recorders and Traversos. Oslo: Irrefuseable Procedures.
Krickeberg, Dieter. 1996. Der schöne Klang. Studien zum historischen Musikinstrumentenbau in Deutschland und Japan unter besonderer Berücksichtigung des alten Nürnberg. Nuremberg: Verlag des Germanischen Nationalmuseums.
Kubitschek, Ernst. 1983. “Hermann Moeck senior†.” Tibia 8 (1): 273. http://www.moeck.com/uploads/tx_moecktables/1983-1.pdf.
Küng, Andreas. 1987. “‘SCHLEGEL A BALE’: Die erhaltenen Instrumente und ihre Erbauer [’SCHLEGEL A BALE’: the surviving instruments and their makers].” Basler Jahrbuch für historische Musikpraxis 11: 63–88.
Kuronen, Darcy. 2004. “More about ‘The Recorder in the Nineteenth Century.’” American Recorder 45 (1): 29–30. http://www.americanrecorder.org/docs/ARJan04body.PDF.
Laborde, Léon le Comte de. 1849–1852. Les ducs de Bourgogne: études sur les lettres, les arts et l’industrie pendant le XVe siècle et plus particuliarement dans les Pays-Bas et le duché de Bourgogne. 2. Paris: Plon frères. https://archive.org/stream/lesducsdebourgo04labogoog#page/n206/mode/2up.
Lambrechts-Douillez, Jeannine. 1968. “Een contrabas blockfluit in het Museum Vleeshuis te Antwerpen: Curiosum en wereldunicum [A Bass Recorder in the Vleeshuis Museum in Antwerp: a Unique Curio].” In Miscellanea Jozef Duverger: Bijdragen tot de kunstgeschiedenis der Nederlanden, edited by Jozef Duverger, 2:907–19. Ghent: Vereniging voor de Geschidenis der Textielkunsten.
Lander, Nicholas S. 1996–2024. “Recorder Iconography.” Recorder Home Page. https://www.recorderhomepage.net/recorder-iconography/.
Lander, Nicholas S. 1996–2024. “Historic Makers, Instruments & Collections.” Recorder Home Page. https://www.recorderhomepage.net/instruments/historic-makers-instruments-collections/.
Lander, Nicholas S. 1996–2024. “A Memento: The Medieval Recorder.” Recorder Home Page. https://www.recorderhomepage.net/instruments/a-memento-the-medieval-recorder/.
Langwill, Lyndesay G. 2015. “Haka, Richard.” In Grove Music Online, Oxford Music Online. Oxford: Oxford University Press. Accessed August 18. http://www.oxfordmusiconline.com.
Langwill, Lyndesay G. 1980. An Index of Musical Wind Instrument Makers. 6th ed. Edinburgh: Author.
Larson, André P. 1985. “Original Bass Recorders in the United States.” American Recorder 26 (4): cover & 171–72.
Lasocki, David R.G., ed. 2005. Musique de Joye. Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003. Utrecht: STIMU Foundation for Historical Performance Practice.
Lasocki, David R.G., ed. 1995. The Recorder in the 17th Century. Proceedings of the International Recorder Symposium. Utrecht, 27-30 August 1993. Utrecht: STIMU Foundation for Historical Performance Practice.
Lasocki, David R.G. forthcoming. Not Just the Alto: Sizes of Recorder in the Baroque and Classical Periods. Portland, Oregon: Instant Harmony.
Lasocki, David R.G. 2013. “Plays Pretty Well on the Common Flute: The Recorder in Colonial North America and the Early US.” American Recorder 54 (3): 15–29. http://www.instantharmony.net/Music/ColonialAmerRecorder_FIN.pdf.
Lasocki, David R.G. 2012. “Woodwind Makers in the Turners Company of London, 1604-1750.” Galpin Society Journal 65: 61–91. http://www.instantharmony.net/Music/GSJ65%20Lasocki.pdf.
Lasocki, David R.G. 2012. “What We Have Learned about the Recorder in the Last 50 Years.” American Recorder 53 (5): 18–27. http://www.instantharmony.net/Music/Recorder50Yrs_proof2.pdf.
Lasocki, David R.G. 2012. “The Recorder in English Newspapers, 1730-1800.” American Recorder 53 (2): 29–37. http://www.instantharmony.net/Music/Lasocki_trial4_proof.pdf.
Lasocki, David R.G. 2011. “Researching the Recorder in the Middle Ages.” American Recorder 52 (1): 15–19. http://www.instantharmony.net/Music/AR_Lasocki_MiddleAges.pdf.
Lasocki, David R.G. 2010. “New Light on Eighteenth-Century English Woodwind Makers from Newspaper Advertisements.” Galpin Society Journal 63: 73–142. http://www.instantharmony.net/Music/GSJ63_Lasocki_only.pdf.
Lasocki, David R.G. 2009–2010. “Joshua Collins: An Eighteenth-Century Woodwind Maker (perhaps) from Manchester.” Manchester Sounds 8: 8–13. http://www.instantharmony.net/Music/Turner_Lasocki_ManchesterSounds_2009-10.pdf.
Lasocki, David R.G. 2009. “New Light on the Recorder and Flageolet in Colonial North America and the United States, 1700-1840, from Newspaper Advertisements.” Journal of the American Musical Instrument Society 35: 5–80. http://www.instantharmony.net/Music/JAMIS-XXXV-2009.pdf.
Lasocki, David R.G. 2009. “Lessons from Inventories and Sales of Flutes and Recorders, 1650–1800.” In Flötenmusik in Geschichte Und Aufführungspraxis Zwischen 1650 Und 1850: XXXIV. Wissenschaftliche Arbeitstagung Michaelstein, 5. Bis 7. Mai 2006, 299–330. Augsburg: Wißner; Michaelstein: Stiftung Kloster Michaelstein. http://www.instantharmony.net/Music/lessons-from-inventories.pdf.
Lasocki, David R.G. 2005. “Tracing the Lives of Players and Makers of the Flute and Recorder in the Renaissance.” In Musique de Joye: Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003, 363–405. Utrecht: STIMU Foundation for Historical Performance Practice.
Lasocki, David R.G. 2002. “Die Bassanos: Holzbläser, Instrumentenbauer und Komponisten des 16. und 17. Jahrhunderts in London und Venedig [The Bassanos: Woodwind Players, Instrument Makers, and Composers of the Sixteenth and Seventeenth Centuries in London and Venice].” Tibia 27 (1): 3–10. http://www.moeck.com/uploads/tx_moecktables/2002-1.pdf.
Lasocki, David R.G. 2001. “Recorder.” In The New GROVE Dictionary of Music and Musicians, edited by Stanley J. Sadie and John Tyrell. Basingstoke: Macmillan. http://www.oxfordmusiconline.com.
Lasocki, David R.G. 1999. “Tribute to Fred Morgan.” Recorder Education Journal 4: 29.
Lasocki, David R.G. 1993. “The Bassanos’ Maker’s Mark Revisited.” Galpin Society Journal 46: 114–19.
Lasocki, David R.G., and Malcolm Boyd. 1999. “Fiauto, Fiauto D’echo.” In J.S. Bach, 169–70. Oxford: Oxford University Press.
Lasocki, David R.G. 1992. “Paisible’s Echo Flute, Bononcini’s Fiauti Eco, and Bach’s Fiauti D’echo.” Galpin Society Journal 45: 59–66.
Lasocki, David R.G. 1986. “The Bassanos: Anglo-Venetian and Venetian.” Early Music 14 (4): 58–560.
Lasocki, David R.G. 1985. “The Anglo-Venetian Bassano Family as Instrument Makers and Repairers.” Galpin Society Journal 38: 112–32.
Lasocki, David R.G. 1984. “The Recorder Consort at the English Court 1540-1673. Part 1.” American Recorder 25 (3): 91–100. http://www.instantharmony.net/Music/AR-08-84.pdf.
Lasocki, David R.G. 1984. “The Recorder Consort at the English Court 1540-1673. Part 2.” American Recorder 25 (4): 131–35. http://www.instantharmony.net/Music/AR-11-84.pdf.
Lasocki, David R.G. 1970. “The C Recorder in the Eighteenth Century.” American Recorder 11 (1): 30.
Lasocki, David R.G., and Roger Prior. 1995. The Bassanos: Venetian Musicians and Instrument Makers in England, 1531-1665. Aldershot, Hampshire; Brookfield, VT: Scolar Press; Ashgate.
Latham, G. 1994. “Ken Wiliams’ Oxford Sketchbook.” Australia’s Journal of Recorder & Early Music 18 (1).
Legêne, Eva. 1984. “The Rosenborg Recorders.” American Recorder 25 (2): 50–52.
Legêne, Eva. 1995. “The Early Baroque Recorder: ‘Whose Lovely, Magically Sweet, Soulful Sound Can Move Hearts to Stone.’” In The Recorder in the 17th Century: Proceedings of the International Recorder Symposium Utrecht 1993, edited by David R.G. Lasocki, 105–24. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
Legêne, Eva. 2005. “Music in the Studiolo and Kunstkammer of the Renaissance, with Passing Glances at Flutes and Recorders.” In Musique de Joye: Proceedings of the International Symposium on the Renassiance Flute and Recorder Consort. Utrecht 2003, 323–61. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
Legêne, Eva, Edwin Buijsen, and Louis P. Grijp. 1994. “‘A Foolish Passion for Sweet Harmony’: The Musical Instrument Collection of a Compleat Gentleman, a Monarch and an Artist in the Seventeenth Century.” In The Hoogsteder Exhibition of Music and Painting in the Golden Age, 81–110. The Hague: Hoogsteder & Hoogsteder.
Lehmann, Robert A. 1986. “Preparation and Management of a Descriptive Inventory for a Collection of Flutes.” Journal of the American Musical Instrument Society 12: 137–48.
Lerch, Thomas. 1996. Vergleichende Untersuchung von Bohrungsprofilen Historischer Blockflöten des Barock [A Comparative Investigation of Bore Profiles of Historical Baroque Recorders]. Berlin: Staatliches Institut für Musikforschung Preussischer Kulturbesitz Musikinstrumenten-Museum.
Lerch, Thomas. 2002. “Versuch Einter Blockflötenkopie – the Creation of a Clone.” Tibia 27 (2): 14–113. http://www.moeck.com/uploads/tx_moecktables/2002-2.pdf.
Lerch, Thomas. 1988. “Die Entwicklung des barocken Blockflötenbaus in Europa: Ein geschichtlicher Abriss [The Development of Baroque Recorder Construction in Europe: A Historical Outline].” Das Musikinstrumen: internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 37 (7): 16–20.
Lerch, Thomas, and Rainer Weber. 1995. “Herstellungstechniken im historischen Holzblasinstrumentenbau [The Manufacture of Historical Musical Instruments].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 11: 14–24.
Lesure, François. 1954. “La facture instrumentale à Paris au seizième siècle [Instrument Making in Paris in the Sixteenth Century].” Galpin Society Journal 7: 11–52.
Lewis, Mildred. 1960. “How Recorders Are Made: At the Workshop of Friedrich von Huene.” American Recorder 1 (4): 4–6.
Leydi, Roberto, and Fabo Guizzi. 1985. Strumenti musicali e tradizioni popolari in Italia [Musical Instruments and Folk Traditions in Italy]. Rome: Bulzoni Editore,.
Li Virghi, Francesco. 2015. “I Flauti dell’Accademia Filarmonica di Bologna [Rafi and Grece recorders in Bologna].” Accessed September 5. http://www.livirghi.com/insights-2/rafi-and-grece-recorders-in-bologna-in-italian/.
Li Virghi, Francesco. 1983. “Review of Morgan (1982).” Flauto Dolce 9: 39–40.
Li Virghi, Francesco. 1984. “Il flauto diritto basso della collezione di Assisi [The Bass Recorder in the Collection at Assisi].” Il flauto dolce 10/11: 51–52.
Li Virghi, Francesco. 2000. “Restauro o non restauro?” [To Restore or Not?].” In Il flauto dolce: Dallo scolaro al virtuoso [The Recorder: From Student to Virtuoso], edited by Nicolucci Vittorio. Bologna: UT Orpheus Edizioni.
Libin, Laurence. 1980. “Holzblasinstrumente im Metropolitan Museum of Art in New York [Woodwind Instruments in the Metropolitan Museum of Art, New York].” Tibia 5 (1): 28–31. http://www.moeck.com/uploads/tx_moecktables/1980-1.pdf.
Libin, Laurence. 1976. A Checklist of Western European Flageolets, Recorders and Tabor Pipes. New York: Metropolitan Museum of Art.
Libin, Laurence. 1988. “A Unique Soprano Recorder.” American Recorder 29 (3): 113–14.
Loretto, Alec V. 1973. “Letter: A Hotteterre Tenor?” Recorder and Music 4: 243.
Loretto, Alec V. 1998. “Communication 1601: The Term ‘Transitional Recorder.’” FoMRHI Quarterly 93: 17. http://www.fomrhi.org/uploads/bulletins/Fomrhi-093.pdf.
Loretto, Alec V. 1986. “When Is a Ganassi Recorder Not a Ganassi Recorder?” American Recorder 27 (2): 64–66.
Loretto, Alec V. 1990. “A Ganassi Model Recorder in Vienna?” Recorder Magazine 10 (2): 35–38.
Loretto, Alec V. 1998. “Communication 1570: Catajo and Ganassi – an Italian Castle and a Flauto Dolce.” FoMRHI Quarterly 91: 28–30. http://www.fomrhi.org/uploads/bulletins/Fomrhi-091.pdf.
Loretto, Alec V. 1998. “Communication 1586: Long and Short Recorder Feet.” FoMRHI Quarterly 92: 22–24. http://www.fomrhi.org/uploads/bulletins/Fomrhi-092.pdf.
Loretto, Alec V. 1987. “Communication 802: The Bassano/HIE(RO).S/!!/Venice Discussion.” FoMRHI Quarterly 47: 55–61. http://www.fomrhi.org/uploads/bulletins/Fomrhi-047.pdf.
Loretto, Alec V. 1990. “Communication 954: The Prague Bressan Bocal.” FoMRHI Quarterly 58: 30–31. http://www.fomrhi.org/uploads/bulletins/Fomrhi-058.pdf.
Loretto, Alec V. 1990. The Ganassi Affair: An Overlong Melodramatic Comedy. Auckland: Published by the author.
Loretto, Alec V. 1974. A Ganassi Model Recorder in Vienna. Auckland: Published by the author.
Loretto, Alec V. 1995. “Communication 1368: Reply to Communication 1333. David Lasocki’s Ganassi Controversy.” FoMRHI Quarterly 80: 28. http://www.fomrhi.org/uploads/bulletins/Fomrhi-080.pdf.
Loretto, Alec V. 1999. “Good Bores, Frightful Bores, and the Recorder.” In . Edinburgh: EUCHMI/Galpin Society. http://www.euchmi.ed.ac.uk/gxjta.html.
Loretto, Alec V. 1998. “Recorder Fingerings.” FoMRHI Quarterly 90: 30. http://www.fomrhi.org/uploads/bulletins/Fomrhi-090.pdf.
Loretto, Alec V., and E. van Weerd. 1990. “Where Have All the Ganassi Recorders Gone?” Bouwbrief 59: 7–10.
Loulié, Étienne. 1696. Eléments ou principes de musique [Elements or Principles of Music]. Geneva: Christoph Ballard. http://imslp.org/wiki/%C3%89l%C3%A9ments_ou_principes_de_musique_(Louli%C3%A9,_Etienne).
Lyndon-Jones, Maggie. 1998. “Communication 1584. A Case for the ‘Ganassi Recorder’ in Vienna.” FoMRHI Quarterly 92: 20. http://www.fomrhi.org/uploads/bulletins/Fomrhi-092.pdf.
Lyndon-Jones, Maggie. 1996. “Communication 1428. More Thoughts on the Bassanos.” FoMRHI Quarterly 83: 18–28. http://www.fomrhi.org/uploads/bulletins/Fomrhi-083.pdf.
Lyndon-Jones, Maggie. 1999. “A Checklist of Woodwind Instruments Marked !!” Galpin Society Journal 52: 243–80. http://www.jstor.org/stable/842526?seq=1#page_scan_tab_contents.
Lyndon-Jones, Maggie. 1994. “Communication 1306: Instruments at Schloss Pillnitz.” FoMRHI Quarterly 77: 52–53. http://www.fomrhi.org/uploads/bulletins/Fomrhi-077.pdf.
Lyndon-Jones, Maggie. 1996. “Communication 1427: Who Was HIE.S/HIER.S/HIERO.S?” FoMRHI Quarterly 3: 10–17. http://www.fomrhi.org/uploads/bulletins/Fomrhi-083.pdf.
Lyndon-Jones, Maggie. 1987. “Communication 802: The Bassano/HIE(RO).S/!!/Venice Discussion.” FoMRHI Quarterly 47: 55–61. http://www.fomrhi.org/uploads/bulletins/Fomrhi-047.pdf.
Lyndon-Jones, Maggie. 1998. “Renaissance Woodwinds in the Museo Degli Strumenti Musicali, Rome.” FoMRHI Quarterly 90: 21–25. http://www.fomrhi.org/uploads/bulletins/Fomrhi-090.pdf.
Maclagan, Susan J. 2009. “Voice Flute.” In A Dictionary for the Modern Flutist, edited by Susan J. Maclagan. Lanham, MD: Scarecrow Press.
MacMillan, Douglas. 2007. “The History of the Recorder 1800-1905.” Music, Images, Instruments, 181–92.
MacMillan, Douglas. 2006. “An Organological Overview of the Recorder 1800-1905.” Guildford: University of Surrey.
MacMillan, Douglas. 2015. “Baroque Recorders in the Nineteenth Century.” Galpin Society Journal 68: 215–19.
MacMillan, Douglas. 2012. “A Controversial Tenor Recorder.” Galpin Society Journal 65: 197–99.
MacMillan, Douglas. 2007. “An Organological Overview of the Recorder 1800-1905.” Galpin Society Journal 60: 191–20.
MacMillan, Douglas. 2007. “The Recorder 1800-1905.” Recorder Magazine 27 (4): 126–31.
MacMillan, Douglas. 2008. The Recorder in the Nineteenth Century. Mytholmroyd: Ruxbury Publications.
MacMillan, Douglas. 2010. “‘The Alternative Recorder.’ The Csakan and the Flageolet in the Nineteenth Century.” Recorder Magazine 30 (10): 13–17. http://recorder.peacockmagazines.com/recordermagazine/magazines/28654931699/files/assets/downloads/publication.pdf.
MacMillan, Douglas. 2010. “The English Flageolet, 1800-1900.” Early Music 28 (4): 559–70.
MacMillan, Douglas. 2007. “Arnold Dolmetsch and the Recorder Revival.” The Consort 63: 90–104.
MacMillan, Douglas. 2003. “The Recorder in the Nineteenth Century.” American Recorder 54 (5): 16–18.
MacMillan, Douglas. 2003. “[Photo of Bressan Alto in GB-Warwick].” Galpin Society Journal
MacMillan, Douglas. 1983. “The Recorder in the Late Eighteenth and Early Nineteenth Centuries.” The Consort 29: 489–97.
MacMillan, Douglas. 1981. “The Descant Recorder in the Early Eighteenth Century.” Recorder & Music 7 (1): 12–13.
MacMillan, Douglas. 1991. “The Voice Flute: An Historical Survey.” The Consort 47: 5–7.
MacMillan, Douglas, and Isobel Clarke. 2017. “Duct Flutes in the Charles van Raalte Collection at Dean Castle.” Galpin Society Journal 70:233–35.
Madurell, José M. 1950. “Documentos Para La Historia de Músicos, Maestros de Danza, Instrumentos Y Libros de Música (Siglos XIV–XVIII).” Anuario Musical 5: 211
Mahillon, Victor-Charles. 1893–1978. Catalogue descripitif et analytique de Musée instrumental du Conservatoire Royal de Musique de Bruxelles. 5 vols. Ghent.
Manguin, Jean-Luc. 2015. “Les facteurs français anciens.” Accessed September 22. https://manguin.users.greyc.fr/flutabec/fact_anc.htm.
Marcuse, Sybil. 1975. Survey of Musical Instruments. Newton Abbott: David & Charles.
Marix, Jeanne. 1939. Histoire de la musique et des musiciens de la cour de Bourgogne sous le reigne de Philippe le Bon (1420-1467). Sammlung musikwissenschaftlicher Abhandlungen, Collection d’études musicologiques 28. Strasbourg: Heitz.
Martius, Klaus. 1992. “Computertomographie und ihr Ensatz in der Documentation von Musikinstrumenten [Computer Tomography and its Use in the Documentation of Musical Instruments].” Arbeitsbläter für Restauratoren 25: 129–34.
Martius, Klaus, and Markus Raquet. 2005. “3D-computertomographie: Modernste Dokumentation von Holzblasinstrumentum.” Windkanal, no. 3: 6–12. http://www.windkanal.de/images/stories/PDF/2005-3/Windkanal_2005-3_3DCT-Computerthomographie.pdf.
Marvin, Bob. 1978. “Communication 118: A Ganassi Flauto.” FoMRHI Quarterly 11: 40–46. http://www.fomrhi.org/uploads/bulletins/Fomrhi-011.pdf.
Marvin, Bob. 2007. “Department of Amplification: Continuing Discussion on the ‘Ganassi’ Recorder.” American Recorder 48 (3): 32.
Marvin, Bob. 1972. “Recorders and English Flutes in European Collections.” Galpin Society Journal 25: 30–57.
Marvin, Bob. 1985. “Communication 651: A Bassano Flauto.” FoMRHI Quarterly 41: 22–23. http://www.fomrhi.org/uploads/bulletins/Fomrhi-041.pdf.
Marvin, Bob. 1979. “Communication 226: A Serviceable Early Baroque Flauto.” FoMRHI Quarterly 16: 50–51. http://www.fomrhi.org/uploads/bulletins/Fomrhi-016.pdf.
Matthieson, Penelope. 1989. “Nature, Art and Music: The Rosenborg Recorders.” Continuo 13 (4): 22–24.
McGee, Terry. 2003. “Firth, Pond & Co. – New York Makers.” http://www.mcgee-flutes.com/Firth&c.htm.
McGee, Timothy J. 1999. “In the Service of the Communue: The Changing Role of Florentine Civic Musicians, 1450-1532.” 16th-Century Journal 30 (3): 727–43.
McGowan, R.A. 1974. “Italian Baroque Solo Sonatas for the Recorder and the Flute.” Ph.D. dissertation, Ann Arbor: University of Michigan.
McGowan, Richard A. 1978. Italian Baroque Solo Sonatas for the Recorder and the Flute. Detroit Studies in Music Bibliography 37. Detroit: Information Coordinators.
McRae, Lee. 1973. “Bruce Haynes: Performer, Instrument Maker and Teacher.” American Recorder 14 (2): 46–49.
Meadows, H. 1994. “Happy Birthday, Whenever That May Be. Further Thoughts on Mr Loretto’s Article.” Recorder Magazine 15 (3): 87–88.
Meer, John H. van der. 1993. Strumenti musicali europei del Museo Civico Medievale di Bologna, con Appendici dei Fondi Strumentali delle Collezioni Comunali d’Arte, del Museo Davia Bargellini e del Civico Museo Bibliografico Musicale. Bologna: Nuova Alfa Editore.
Meer, John H. van der. 1977. “Nuremberg Instrument Makers of the 17th and 18th Centuries.” American Recorder, 18 (2): 33–37; (3): 65–69.
Meer, John H. van der. 1983. “More about Denner.” Galpin Society Journal 36: 127.
Meer, John H. van der, and Rainer Weber. 1982. Catalogo degli instrumenti musicali dell’Accademia Filarmonica di Verona. Verona: Accademia Filarmonica di Verona.
Meesters, G.L. 1962. “Steenbergen uit Zuidwolde.” Gens Nostra 17: 122–28.
Meier, Edwin. 1995. “Die Musikinstrumentensammlung im Museum Bellerive in Zürich [The Collection of Musical Instruments in the Bellerive Museum in Zurich].” Intrada 1 (3): 24–27.
Meierott, Lenz. n.d. Die geschichtliche Entwicklung der kleinen Flötentypen und ihre Verwendung in der Musik des 17. und 18. Jahrhunderts [The Historical Development of the Small Members of the Flute Family and their Use in the Music of the Seventeenth and Eighteenth Centuries]. Wurzburger Musikhistorische Beiträge 4. Tutzing: Hans Schneider.
Melville-Mason, Graham. 1968. An Exhibition of European Musical Instruments: Edinburgh International Festival (August 18th-September 7th 1968), Reid School of Music, Edinburgh University. Edinburgh: The Galpin Society.
Merger, C.E. 1970. “Friedrich von Huene: The Man, His Work and His Family.” American Recorder 11 (1): 3–7.
Meucci, Renato. 1994. “La Costruzione Di Strumenti Musicali a Roma Tra XVII E XIX Secolo, Con Notizie Inedite Sulla Famiglia Biglioni.” In La Musica a Roma Attraverso Le Fonti D’archivio. Atti Del Convegno Internazionale, Roma 4-7 Jiugno 1992, edited by Bianca Antolini, Arnaldo Morelli, and Vera V. Spagnuolo. Lucca: Libreria Musicale Italiana.
Meucci, Renato. 2000. “Gli strumenti musicali.” In Musica nel Veneto, I Beni di Cultura, edited by Paolo Fabbri, 64–79. Milan: Rti Grafiche Motta.
Meucci, Renato. 2008. Strumentaio: Il costruttore di strumenti musicali nella tradizione occidentale. Venice: Marsilio.
Meucci, Renato. 2001. “Anciuti.” In The New GROVE Dictionary of Music and Musicians, edited by Laura Macy, Stanley J. Sadie, and John Tyrell, 2nd ed. Basingstoke: Macmillan. http://www.oxfordmusiconline.com/public/book/omo_gmo.
Mezger, Marianne, and Ture Bergstrøm. 2001. “Die Kilmarnocker Flöte [The Kilmarnock Recorder].” Tibia 26 (1): 386–87. http://www.moeck.com/uploads/tx_moecktables/2001-1.pdf_S._386.pdf.
Midgley, Ruth, ed. 1978. Musical Instruments of the World. New York: Bantam.
Moeck, Hermann A. 1994. “Flötensignaturen auf alten Gemälden [Maker’s marks in Old Paintings].” Tibia 19 (2): 128–29. http://www.moeck.com/uploads/tx_moecktables/1994-2.pdf.
Mollenhauer, Bernhard. 2001. “Heinz Rössler—einen Kollegen und Freund verloren [Heinz Rössler—A Colleague and Friend Lost].” Windkanal, no. 3: 19–20.
Montagu, Jeremy. 1990. “Communication 991: Review of Ueno Gakuen College Tokio: Catalogue of the European Musical Instruments of the 17th-19th Century (2nd Issue).” FoMRHI Quarterly 61: 13. http://www.fomrhi.org/uploads/bulletins/Fomrhi-061.pdf.
Montagu, Jeremy. 1979. The World of Baroque & Classical Musical iInstruments. Milton (Australia): Jacaranda Press.
Montagu, Jeremy. 1995. “Salerooms: Instruments.” Early Music, 23 (1): 175–76; 179–8.
Montagu, Jeremy. 1996. “Salerooms: Instruments.” Early Music, 24 (3): 529–30, 533–34.
Montagu, Jeremy. 1997. “Salerooms: Instruments.” Early Music 25 (2): 339–42.
Montagu, Jeremy. 1998. “Communication 1588: As like as Two Peas.” FoMRHI Quarterly 92: 26–27. http://www.fomrhi.org/uploads/bulletins/Fomrhi-092.pdf.
Montagu, Jeremy. 2002. “Salerooms: Instruments.” Early Music 30 (1): 149–52.
Monteiro, Isabel. 2001. “La flauta dulce en Portugal: Breve panorama de la Flauta de pico en Portugal – siglos XVI a XVIII.” Revista de flauta de pico 17 (1): 17–21.
Moonen, Toon. 1997. “Restauratie van Terton sopraan blokfluit (in Haags Gemeentemuseum) [Restoration of Terton Soprano Recorder (in The Hague Municipal Museum)].” Bouwbrief
Morgan, Frederick G. 1984. “A Recorder for the Music of J..J. van Eyck.” American Recorder 5 (2): 47–49.
Morgan, Frederick G. 1981. The Recorder Collection of Frans Brüggen. Drawings by Frederick Morgan. Tokyo: Zen-On.
Morgan, Frederick G. 1984. “Old Recorders and New Ones.” Recorder: Journal of the Victorian Recorder Guild 1: 12–16.
Morgan, Frederick G. 1982. “Making Recorders Based on Historical Models.” Early Music 10 (1): 14–21.
Morgan, Frederick G. 1985. “Old Recorders – Our Design Heritage.” Recorder: Journal of the Victorian Recorder Guild 2: 8–11.
Morgan, Frederick G. 1987. “A Players Guide to the Recorder.” Recorder: Journal of the Victorian Recorder Guild, 6: 1–4; 7: 10–16.
Muntané, M.C. Gomez, and María del Carmen. 1986. “El manuscrito M 971 de la Biblioteca de Catalunya (Misa de Barcelona).” Butlletí de la Biblioteca de Catalunya
Museum Vleeshuis. 1981. Catologus van de Muziekinstrumenten uit de verzameling van het Museum Vleeshuis. Antwerp: Ruckers Genootschap.
Myers, Arnold, ed. 2000. Historic Musical Instruments in the Edinburgh University Collection. Part D, Fascicle I: Recorders and Flageolets,. Edinburgh: Edinburgh University Collection of Historic Musical Instruments.
Myers, Arnold, ed. 1994. Copies of Historic Musical Instruments. CIMCIM Publications 3. Edinburgh: International Committee for Museums and Collections of Musical Instruments.
Myers, Arnold. 2001. “A Renaissance Recorder in Edinburgh.” Recorder Magazine 21 (3): 94–95.
Myers, Herbert W. 2001. “Flutes.” In A Performer’s Guide to Medieval Music, edited by Ross W. Duffin, 376–83. Bloomington: Indiana University Press.
Myers, Herbert W., Boaz Berney, and Adrian Brown. 2005. “An Important Case Study: The Augsburg ‘Futteral.’” In Musique de Joye: Proceedings of the International Symposium on the Renassiance Flute and Recorder Consort. Utrecht 2003, 513–21. Utrecht: STIMU Foundation for Historical Performance Practice.
Nagel, Sigrid. 1974. “Musical Instruments at the Metropolitan Museum of Art.” American Recorder 15 (4): 111–17.
Nagel, Sigrid. 1978. “AMIS Meets at Yale.” American Recorder 19 (2): 66–67.
Nef, Karl. 1904. Musikinstrumenten Katalog Historisches Museum, Basel. Basel: Birkhauser.
Nef, Walter. 1974. Alte Musikinstrumente in Basel [Ancient Musical Instruments in Basel]. Basel: Stiftung fur das Historische Museum Basel.
Neudörfer, Johann, and Georg W.K. Lochner. 1875. Des Johann Neudörfer Schreib-und Rechenmeisters zu Nürnberg Nachricthen von Künstlern und Werkleuten daselbst aus dem Jahre 1547. Vienna: Wilhelm Braumüller. https://archive.org/details/desjohannneudr00neuduoft.
Nickel, Ekkehard. 1971. Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg [Woodwind Instrument Making in the German Free Town of Nuremberg]. Schriften zur Musik 8. Munich: Musikverlag Emil Katzbichler.
Nickel, Ekkehard. 1979. “Johann Christoph und Jacob Denner: Zwei Lebensbilder [Johann Christoph and Jacob Denner: Two Biographical Sketches].” Tibia 4 (3): 393–95. http://www.moeck.com/uploads/tx_moecktables/1979-3.pdf.
Nicolucci, Vittorio, ed. 2000. Il flauto dolce: Dallo scolaro al virtuoso [The Recorder: from Student to Virtuoso]. Bologna: UT Orpheus Edizioni.
Niemann, Heidi. 2010. “700 Jahre Altes Instrument – Älteste Blockflöte Europas Befindet Sich in Göttingen.” Göttinger Tageblatt / Eichsfelder Tageblatt Online. December 22. http://www.goettinger-tageblatt.de/Goettingen/Uebersicht/Aelteste-Blockfloete-Europas-befindet-sich-in-Goettingen.
Nocerino, Francesco. 2009. “Gli strumenti musicali a Napoli nel secolo XVIII.” In Storia della musica e dello spettacolo a Napoli. 2. Il Settecento, edited by Francesco Cotticelli and Paologiovanni Maione, Turchini Edizioni. Naples: Centro di Musica Antica “Pietà dei Turchini.”
Nozaki, Koske. 2016. “A Practical Exploration of the Historical Fingerings of Baroque Recorders in England, France and Germany.” The Hague: University of the Arts The Hague Royal Conservatoire. https://media.researchcatalogue.net/rclive/master/32_260577_01457950162_00001.pdf
Oestreicher, Klaus. 1981. “Zur Geschichte der Baßblockflöte [On the History of the Bass Recorder].” Musik International 35 (12): 794–96.
Oldling, Francesco. 1997. “La costruzione degli strumenti a fiato a Torino tra ‘700 e ‘800.” Quaderni della Regione Piemonte, Artigianata 2 (11): 22–26. http://www.jstor.org/stable/41700271?seq=1#page_scan_tab_contents.
Oler, Wesley M. 1964. “My Collection of Modern Replicas.” Recorder and Music Magazine 1 (7): 197–99.
Ongaro, Giulio. 1985. “16th-Century Venetian Wind Instrument Makers and Their Clients.” Early Music 13 (3): 391–97.
Ongaro, Giulio. 1992. “New Documents on the Bassano Family.” Early Music, 409–13.
Ottenbourgs, Stefaan. 1988. “De familie Rottenburgh: Een van de talrijke muzikale dynastieen uit het barokke Brussel. Deel 1: Genealogie. Deel 2: De instrumenten [The Rottenburgh Family: One of the Numerous Musical Dynasties of Brussels in the Baroque. Part 1: Genealogy. Part 2: The Instruments].” Musica antiqua, 5(4): 152–58; 6 (1): 9–16.
Ottenbourgs, Stefaan. 1989. “Die Familie Rottenburgh: Eine der zahlreichen musikalischen Dynastien aus dem barocken Brüssel. Tiel 1: Genealogie. Tibia 14 (3): 477-489 (1989); Tiel 2. Tibia 14 (4): 557-567 (1989).” Tibia 14: (3): 477–89; (4): 557–67. http://www.moeck.com/en/tibia/tibia-early-issues/1980-1989.html.
Otterstedt, Annette, Hans Reiners, and Eszter Fontana. 1999. “Solange Sich Die Sache Beheben Läßt … : Zu Den Flöten Der Renaissance [As Long as Things Can Be Repaired … : On the Recorders of the Renaissance].” In Scripta Artium Nr. 1 [Festschrift for Rainer Weber]. Halle an der Saale: Verlag Janos Stekovics.
Pasquale, Marco di. 1988. “Gli strumenti musicali dell’Accademia filarmonica di Verona: Un approccio documentario” [The Musical Instruments of the Accademia Filarmonica of Verona: A Documentary Approach].” Il flauto dolce 17-18: 3–17.
Paz, Fernando. 2015. “SAM 135 vs ‘Ganassi’ F. Morgan Comparativa entre una ‘Ganassi’ Morgan y la SAM 135 (C 8522) del Museo de Viena.” Accessed November 5. http://fernandopaz.org/sam-135-vs-ganassi-f-morgan/.
Pearsall, Eileen S. 1986. “Tudor Court Musicians, 1485-1547: Their Number, Status and Function.” Ph.D. dissertation, New York: New York University, Graduate School of Arts and Science.
Pichler, Isfried H., and Richard Hinteregger. 1979. “Die Elfenbein-Blockflöten des Stiftes Schlägl [The Ivory Recorders of the Schlägl Monastery].” In Schlägler Orgel¬konzerte: Jubiläumsschrift zu den 10. Schlägler Orgelkonzerte, edited by Rupert G. Frieberger, 1:74–82. Musikwissenschaftliche Beiträge der Schlägler Musikseminare. Rum bei Innsbruck: Helbling.
Postel, Joachim. 1974. “Katalog der Blockflöten im Frankfurter Historischen Museum [Catalogue of Recorders in the Frankfurter Historischen Museum].” Frankfurt am Main: Musikhochschule.
Pottier, Laurence. 1992. “Le répertoire de la flûte à bec en France à l’époque baroque (musique profane) [The Repertory of the Recorder in France during the Baroque Period (Secular Music)].” Ph.D. dissertation, Lille: Université de Lille.
Powers, Wendy. 1989. “Checklist of Historic Recorders in American Private and Public Collections.” American Recorder 30 (2): 61–62.
Powers, Wendy. 1991. “Historic Recorders in American Private and Public Collections: An Update.” American Recorder 32 (1): 17–20.
Puglisi, Filadelfio. 1981. “The 17th-Century Recorders of the Accademia Filarmonica of Bologna.” Galpin Society Journal
Puglisi, Filadelfio. 1981. “Signor Settala’s ‘armonia Di Flauti.’” Early Music 9 (3): 320–24.
Puglisi, Filadelfio. 1983. “A Firenze un flauto diritto francese [A French Recorder in Florence].” Il flauto dolce 9: 37.
Puklický, Milan. 1986. “Die Holzblasinstrumente des Nationalmuseums Prag [The Woodwind Instruments of the Nationalmuseum, Prague].” In Bericht über das VI. Symposium zu Fragen des Instrumentenbaus-Holzblasinstrumente des 17. und 18. Jahrhunderts, Michaelstein 28./29. November 1985, 39–42. Michaelstein/Blankenburg: Kultur- und Forschungsstätte Michaelstein.
Rampe, Siegbert, and Michael Zapf. 1997–1998. “Neues zu Besetzung und Instrumentarium in Joh. Seb. Bachs Brandenburgischen Konzerten Nr. 4 und 5 [News on the Instrumentation and Instrumentarium in Bach’s Brandenburg Concertos Nos. 4 and 5].” Concerto: Das Magazin för alte Musik, 129 (14): 30–38 (1997); 130 (15): 19–22 (1998).
Reichmann, Kurt, and Peter Spohr. 1982. Flöten aus Fünf Jahrhunderten [Five Hundred Years of Flutes]. Frankfurt am Main: Published by the authors.
Reiners, Hans. 1997. “Reflections on a Reconstruction of the 14th-Century Göttingen Recorder.” Galpin Society Journal 50: 31–42.
Rephann, Richard. 1978. A Catalogue of the Pedro Traversari Collection of Musical Instruments. Washington, D.C.: Organization of American States.
Reyne, Hugo. 1982. “Quelques Notes Sur Les Facteurs de Flûtes á Bec Du XVIème Siècle [Notes on the Makers of Recorders in the Sixteenth Century].” Flûte à Bec 3: 33.
Reyne, Hugo. 1983. “Les facteurs et fabricants de flûtes à bec dans le monde entier: Liste durement et fraîchement établie [The Makers and Manufacturers of Recorders Worldwide: List Compiled Anew and with Difficulty].” Flûte à bec & instruments anciens 8: 16–18.
Reynold, Maria. 1998. Von Intervallen, Tonleitern, Tönen und dem Kammerton C=128 Hertz. Dornach: Verlag am Goetheanum.
Rice, Albert R. 1992. “The Musical Instrument Collection of Michiel van Bolhuis (1764).” Journal of the American Musical Instrument Society 18: 5–21.
Rice, Albert R. 2015. Four Centuries of Musical Instruments: The Marlowe A. Sigal Collection. Atglen: Schiffer Publishing.
Rice, Albert R. 2021. “The Recorder Collection in the Sigal Music Museum.” Typescript (pers. comm.)
Richardson, Paul. 1996. “Nuremberg, música y construcción de flautas de pico [Nuremberg, Music, and Recorder Making].” Revista de flauta de pico 5: 9–12.
Richardson, Paul. 1995. “Reflexiones sobre la flauta Ganassi. [Reflections on the Ganassi Recorder].” Revista de flauta de pico 2: 13–16.
Ridley, Edward A.K. 1982. The Royal College of Music Museum of Instruments Catalogue, Part I: European Wind Instruments. London: Royal College of Music. http://issuu.com/royalcollegeofmusic/docs/woodwind_catalogue_1.
Ripin, Edward M. 1974. The Instrument Catalogs of Leopoldo Franciolini. Edited by George R. Hill. Vol. 9. Music Indexes and Bibliographies. Hackensack: Joseph Boonin.
Robinson, Andrew. 2003–2004. “Families of Recorders in the Baroque Period: The Denner Orders and Other Evidence.” Recorder Magazine, 23 (4): 113–17 (2003); 24 (1): 5–9 (2004). http://www.buyrecorders.com/PDF_Files/ARobinson_Consorts_Final.pdf
Roca Traver, Francisco. 1983. “El tono de vida en la Valencia medieval (Continuación).” Boletin de la Sociedad Castellonense de Cultura 59 (1): 16–17.
Rohmer, Joachim. 2005. “‘Fred, Fred und nochmal Fred’ [’Fred, Fred, and Fred Again’].” Tibia 30 (1): 343–47.
Roos, Wilhelm, ed. 1987. Die Sammlung historischer Musikinstrumente in der Landesfürstlichen Burg zu Meran [The Collection of Historical Musical Instruments in the Landesfürstliche Burg, Merano]. Meran: Meraner Museum.
Roos, Wilhelm. 1990. La collezione di antichi strumenti musicale Castello Principesco di Merano. Merano: Museo Civico di Merano.
Rossi, Tommaso. 2010. “Il Flauto a Napoli durante il Viceregno Austriaco (1707–1734).” Master’s dissertation, Naples: Università degli Studi di Napoli Federico II.
Rothe, Gisela, ed. 2007. Recorders Based on Historical Models. Fred Morgan – Writings and Memories. / Blockflöten Nach Historischen Vorbildern. Fred Morgan – Texte Und Erinnerungen. Fulda: Mollenhauer.
Rovatkay-Sohns, Siri. 2005. “Hell, Michael: Ein Porträt.” Tibia 30 (3): 497.
Rüdinger, Hermann. 2003. “Renaissanceblockflöten im Schlossmuseum Quedlinburg [Renaissance Recorders in the Castle Museum in Quedlinburg].” Tibia 28 (3): 503–6. http://www.moeck.com/uploads/tx_moecktables/2003-3.pdf.Rueger, Christopher. 1986. Musical Instruments, Their Decoration: Historical Gems of European Culture, Cincinnati: Seven Hills Books, 1986, 124-125, Ill. 108. Pynes Hill: David & Charles.
Ruffatti, Alessio. 1998. “La famiglia Piva-Bassano nei documenti degli archivi di Bassano del Grappa [The Piva-Bassano Family in Documents of the Bassano del Grappa Archives].” Musica e storia 6 (2): 349–67.
Ruffatti, Alessio. 1996. “Ricognizione Documentaria Sulla Famiglia Dei Bassano Musicisti E Costruttori Di Strumenti.” Padua: University of Padua.
Ruffatti, Alessio. 1998. “Italian musicians at the Tudor Court – were they really Jews?” Jewish Historical Studies 35 (1-2): 1–14.
Sachs, Curt. 1922. Sammlung alter Musikinstrumente bei der Staatlichen Hochschule für Music zu Berlin. Berlin: J. Bard.
Sadie, Stanley J., ed. 1982. The New GROVE Dictionary of Musical Instruments. London: Macmillan.
Sadie, Stanley J., ed. 2001. The New GROVE Dictionary of Musical Instruments. Basingstoke: Macmillan.
Sallaberry, Georges, and Xavier Sallaberry. 2003. “Catalogue de la collection d’instruments de musique a vent.” Larigot Special 14.
Sardelli, Federico M. 2007. Vivaldi’s Music for Flute and Recorder. Translated by Michael Talbot. Aldershot: Ashgate.
Sardelli, Federico M. 2004. “Il flauto nell’Italia nel primo Settecento.” Ad Parnassum 2 (3): 103–52.
Saunders, Joanne. 2010. “To Research Original Tenor Recorders in Order to Design and Make New Instruments Based on Historical Models.” Winston Churchill Memorial Trust Australia. https://www.churchilltrust.com.au/fellows/detail/3386/joanne+saunders.
Sayers, Keith J. 1975. “The Roessler Recorder.” Early Music 3 (1): 19–20.
Schadwald, Gabi. 2015. “Blockflöten Museum.” Accessed September 13. http://blockfloeten-museum.de/.
Scheicher, Elisabeth. 1977. Die Kunstkammer. Kunsthistorisches Museum, Sammlungen Schloß Ambras. Innsbruck: Kunstihistorische Museum.
Scheck, Gustav. (1975) 1984. Die Flöte und ihr Musik. Mainz: Schott Music.
Schlenz, Mark, ed. 1988. The Shrine to Music Museum: A Pictorial Souvenir. Vermillion: Jane Freeburg.
Schlosser, Julius R. 1920. Die Sammlung alter Musikinstrumente. Beschreibendes Verzeichnis. Publikationen aus den Sammlungen für Plastik und Kunstgewerbe 3. Vienna: Anton Schroll & Co.
Schmid, Manfred H. 1985. “Die Blockflöten des Musikinstrumentenmuseums München [The Recorders of the Musical Instrument Museum in Munich].” In Bericht über das VI. Symposium zu Fragen des Instrumentenbaus-Holzblasinstrumente des 17. und 18. Jahrhunderts, Michaelstein 28./29. November 1985, 18–39. Kultur- und Forschungsstätte Michaelstein: Michaelstein / Blankenburg.
Schmidt, Lloyd J. 1959. “A Practical and Historical Source-Book for the Recorder.” Ph.D dissertation, Evanston: Northwestern University. Oak Grove Library Center.
Schroder, Hans. 1928. Verzeichnis der Sammlung alter Musikinstrumete im Städtischen Museum Braunschweig. Brunswick: E. Applehans.
Seifers, Heinrich. 1980. Musikinstrumente: Katalog der Blasinstrumente, Deutsches Museum von Meisterwerken der Naturwissenschaft und Technik. Munich: Deutsches Museum.
Sela, Bárbara, and Guido Peñalver. 1996. “Fabricantes de flautas de pico en el siglo XX.” Revista de flauta de pico.
Selfridge-Field, Eleanor. 1979. “Venetian Instrumentalists in England: A Bassano Chronicle (1538-1660).” Studi Musicali 8: 173–221.
Seyfrit, Michael. 1982. Musical Instruments in the Dayton C. Miller Flute Collection at the Library of Congress: A Catalog. Vol. I: Recorders, Fifes, and Simple System Transverse Flutes of One Key. Washington, D.C.: Library of Congress.
Sherwood, Thomas. 1998. “Baroque G Recorders.” Galpin Society Journal 51: 267–69.
Sinnaeve, Peter. 2000. “Das neue Instrumentenmuseum im Brüssel [The New Musical Instrument Museum in Brussels].” Windkanal, no. 4: 18–19. http://www.windkanal.de/images/stories/PDF/2000-4/0400.pdf.
Smith, Douglas A. 1980. “The Musical Instrument Inventory of Raymund Fugger.” Galpin Society Journal 33: 36–44. http://www.jstor.org/stable/841827?seq=1#page_scan_tab_contents.
Smith, Nicholas. 2014. “A Musical Interlude: Henry Cole and Matthew Digby Wyatt.” Blog. Victoria and Albert Museum: Tales from the Archives. February 19. http://www.vam.ac.uk/blog/tales-archives/musical-interlude-henry-cole-and-matthew-digby-wyatt
Snelling, Virginia. 1986. “Flûte á bec médiévale [The Medieval Recorder].” Flûte á bec & instruments anciens 17: 11.
Sohl, Norman. 1997. “Hall of Woodwinds: Renaissance Recorders.” Museum of Virtual Woodwinds. http://www.sohl.com/vw/Recorders/renrecorders.html.
Stanesby, Thomas Jr. 1732. “A New System of the Flute A’bec, or Common English-Flute.” http://www.flute-a-bec.com/textestanesbygb.html.
Stanesby, Thomas Jr.(1732) 1962. “A Plea for the Tenor Recorder by Thomas Stanesby Jr.” Edited by Dale Higbee. Galpin Society Journal 15: 55–59.
Stanesby, Thomas Jr. (1732) 2009. “Communication 1837: Thomas Stanesby Junior’s ‘True Concert Flute.’” Edited by Philippe Bolton. FoMRHI Quarterly 111: 19–22. http://www.fomrhi.org/uploads/bulletins/Fomrhi-111.pdf
Starkey, David, ed. 1998. The Inventory of King Henry VIII: The Transcript. Studies in Medieval and Early Renaissance Art History 23. London: Harvey Miller for the Society of Antiquaries.
Stefano, Giovanni Paolo di. 2014. “Documentary Evidence Concerning the Early History of Vincenzo Trusiano and the Panormo Family of Instrument Makers in Italy.” Journal of the Violin Society of America 24 (2): 51–61. http://www.academia.edu/12429055/Documentary_Evidence_Concerning_the_Early_History_of_Vincenzo_Trusiano_and_the_Panormo_Family_of_Instrument_Makers_in_Italy_Journal_of_the_Violin_Society_of_America_XXIV_2_pp._51-61.
Stefano, Giovanni Paolo di. 2014. “Panormo.” In Dizionario Biografico degli Italiani. Vol. 80. Enciclopedia. Treccani. http://www.treccani.it/biografie/.
Stelzer, Cornelia. 2021. Die Bedeutung der Blockflöte zur Zeit des Nationalsozialismus. Vienna: Hollitzer Wissenschaftsverlag.
Stiftelsen Musikkulturens Främjande. 2007. “Checklist of Instruments in the Nydahl Collection.” http://web.comhem.se/smf/PDF/instrumentchlist.pdf.
Stradner, Gerhard. 1983. Spielpraxis und Instrumentarium um 1500: dargestellt an Sebastian Virdung’s Musica getutscht (Basel 1511) [Performance Practice and Instruments around 1500, as Described in Sebastian Virdung’s Musica Getutscht (Basel, 1511)]. 2 vols. Forschungen zur älteren Musikgeschichte, Bd4. Vienna: Verband der Wissenschafltlichen Gesellschaften Österichs.
Stradner, Gerhard. 1987. “Die Blasinstrumente in einem Inventar der Wiener Hofkapelle von 1706 [The Wind Instruments in an Inventory of the Vienna Court Chapel of 1706].” Studien zur Musikwissenschaft 38: 53–63.
Stradner, Gerhard. 1986. “Musikinstrumente in Grazer Sammlungen (Grazer Öffentliche Sammlungen). [Musical Instruments in the Graz Collections].” In Tabulae Musicae Austraiacae. Vol. 11. Vienna: Verlag der Österr. Akademie der Wissenschaften.
Stradner, Gerhard. 2002. “Musical Instruments in an Inventory by Andrea Mantova Benavides, Padua 1696.” Galpin Society Journal 55: 62–103.
Stroom, Charles. 1985. “Plan: Terton Recorder from Haags Gemeente Museum.” FoMRHI Quarterly 40: 13. http://www.fomrhi.org/uploads/bulletins/Fomrhi-040.pdf.
Stroom, Charles. 1991. “Een Terton-blokfluit van het Haags G emeentemuseum [A Terton Recorder in the Gemeentemuseum, The Hague].” Bouwbrief 63: 7–8.
Stuart, Charles. 1951. “‘Dolmetscherie’ Today.” Musical Times 92 (7, no. 1301): 297–303.
Szulc, Zdzisław. 1949. Katalog Instrumentów Muzycznych: Muzeum Wielkopolski. Poznań.
Tarasov, Nik. 2009. “War ist ein Csakan? Vor der Waffe zum Misikinstrument [What is a Csakan? From War Hammer to Musical Instrument].” Windkanal, no. 1: 14–19. http://www.windkanal.de/images/stories/PDF/2009-1/Windkanal_2009-1_Csakan.pdf.
Tarasov, Nik. 2009. “Lieblich oder schrill – Blockflötenkultur zwischen 1750 und 1900 wider die Vergessenheit.” In Flötenmusik in Geschichte und Aufführungspraxis swischen 1650 und 1850: XXXIV. Wissenschaftliche Arbeitstagung Michaelstein, 5. bis 7. Mai 2006, edited by Boje E. Hans Schmuhl and Ute Omonsky, 129–70. Michaelsteiner Konferenzberichte 73. Augsburg; Michaelstein: Wissner; Stiftung Kloster Michaelstein.
Tarasov, Nik. 2005. “Blockflöten im 19. Jahrhundert: Fiktion oder Wirklichkeit? [Recorders in the Nineteenth Century: Fiction or Reality?].” Concerto: Das Magazin för alte Musik 22 (12): 28–31.
Tarasov, Nik. 2010. “Barockblockflöten 2.0: Indizien für die Verwendung von Barockblockflöten um 1800 [Baroque Recorders 2.0: Indicators of the Use of Baroque Recorders around 1800].” Windkanal, no. 1: 12–15. http://www.windkanal.de/images/stories/PDF/2010-1/Windkanal_2010-1_Barockblockfl%C3%B6ten-2.0.pdf.
Tarasov, Nik. 2006. “Peter Harlan im Spiegel der Geschichte – Teil 1: Die Weiderentdeckung der Blockflöte [Peter Harlan in the Mirror of History. Part 1: The Rediscovery of the Recorder].” Windkanal, no. 3: 8–17. http://www.windkanal.de/images/stories/PDF/2006-3/Windkanal_2006-3_Geschichte-der-Blockfloete.pdf.
Tarasov, Nik. 2006. “Peter Harlan im Spiegel der Geschichte – Teil 2: Peter Harlan als Musiker und Pädagoge [Peter Harlan in the Mirror of History. Part 2: Peter Harlan as Musician and Teacher].” Windkanal, no. 4: 14–21. http://www.windkanal.de/images/stories/PDF/2006-3/Windkanal_2006-3_Geschichte-der-Blockfloete.pdf.
Tarasov, Nik. 2005. “Historischer Blockflötenbau: Bahn frei! Kreative Blocckonstruktionen in 19 Jahrhundert [Historical Recorder Making: Make way! Creative Block Construction in the 19th Century].” Windkanal, no. 4: 14–17. http://www.windkanal.de/images/stories/PDF/2005-4/Windkanal_2005_4_Bahn-frei.pdf.
Tarasov, Nik. 2001. “Die Blockflötensammlung im Musikmuseum, Basel” [The Recorder Collection in the Musical Instrument Museum, Basel].” Windkanal, no. 1: 24–29. http://www.windkanal.de/images/stories/PDF/2001-1/0101-musikmuseumBasel.pdf.
Tarasov, Nik. 2015. “Die Mär von der Echoflöte [The tale of the echo flute].” Windcanal, no. 2.
Tarasov, Nik. 2018. “Rendezvous mit Kynseker [A rendezvous with Kynseker.” Windkanal 2018. https://www.mollenhauer.com/shop/windkanal/windkanal-einzelausgabe/1306/windkanal-2018-1-printausgabe
Tarasov, Nik. 2018. A rendezvous with Kynseker. Windkanal Forum 2018. https://indd.adobe.com/view/17939a7e-4ce4-45b2-9655-f5e2f66639ae#content
Tarasov, Nik. 2020. “Neues über Kynseker – Eine Fortsetzungsgeschichte [News about Kynseker – a continuing story].” Windkanal, no. 4
Tarasov, Nik, and Martin Kirnbauer. 2001. “Die Blockflötensammlung Im Musikmuseum, Basel [The Recorder Collection in the Musical Instrument Museum, Basel].” Windkanal, no. 1: 24–29. http://www.windkanal.de/images/stories/PDF/2001-1/0101-musikmuseumBasel.pdf.
Tarasov, Nik, Adrian Brown, and Marco Tiella. 2004. “Flauti dolci bolognesi II.” Windkanal, no. 4: 12–17. http://www.windkanal.de/images/stories/PDF/2004-4/Windkanal_2004-04_Flauti-dolci-bolognese.pdf.
Tellier, M. 1982. “Musée Instrumental du Conservatoire de Paris: Les flûtes à bec baroques [Instrumental Museum of the Paris Conservatoire: The Baroque Recorders].” Flûte à bec 2: 36–41.
Tellier, M. 1982. “Musée Instrumental du Conservatoire de Paris: Les flûtes à bec renaissances [Instrumental Museum of the Paris Conservatoire: The Renaissance Recorders].” Flûte à bec 3: 31–33.
Thalheimer, Peter. 2008. “Fleitl – Flûte douce – Flötuse: Drei Blockflötentypen des 19. Jahrhudnerts’ [Fleitl – Flûte douce – Flötuse: Three Types of Duct-flute in the Nineteenth century].” Tibia 33 (3): 176–83.
Thalheimer, Peter. 2006. “Peter Harlan und die Wiederentdeckung der Blockflöte.” Tibia 31 (3): 183–91.
Thalheimer, Peter. 1990. “Aspekte zur Geschichte der Blockflöte in c¢¢¢ [Aspects of the History of the Recorder in c’”].” Tibia 15 (3): 202–5. http://www.moeck.com/uploads/tx_moecktables/1990-3.pdf_S._202-205.pdf.
Thalheimer, Peter. 2005. “Blockflötenbau in der Anonymität: Die Familie Schlosser aus Zwota [Anonymous Recorder Making: The Schlosser Family from Zwota].” Tibia 30 (2): 427–32.
Thalheimer, Peter. 2010. Die Blockflöte in Deutschland 1920-1945, Instrumentenbau und Aspekte zur Spielweise. Tübinger Beiträge zur Musikwissenschaft 32. Tutzing: Hans Schneider Verlag.
Thalheimer, Peter. 2000. “In Quinten und Quarten: Zur Geschichte des Blockflötenstimmwerks [In Fifths and Fourths: The History of the Various Sizes of Recorder].” Tibia 25 (1): 16–24.
Thalheimer, Peter. 2006. “Rudolf Otto (1912-2004).” Tibia 31 (1): 47–48.
Thalheimer, Peter. 2010. “‘Erinnerungen an Ernst Stieber (1907–1990)’ [Memories of Ernst Stieber (1907–1990)].” Tibia 35 (1): 26–30.
Thalheimer, Peter. 2013. Vergessen und wiederentdeckt : die Blockflöte : 200 Instrumente der Jahre 1926 bis 1945 aus vogtländischen Werkstätten = Forgotten and Rediscovered : The Recorder : 200 Instruments Made in the Vogtland Region Between 1926 and 1945. Vol. 3. Meisterleistungen deutscher Instrumentenbaukunst = Masterpieces of German Instrument Making. Markneukirchen: Verein der Freunde und Förderer des Musikinstrumenten-Museums Markneukirchen e. V.
Thalheimer, Peter. 2020. “Denner for ever – Barocke Blockflötenmodelle und ihre Wechselwirkung mit dem Repertoire [Denner for ever – Baroque recorder models and their interaction with the repertoire.].” Tibia – Online. May 10, 2020. https://www.moeck.com/de/tibia/tibia-online/artikel/?article=2166.
Thibault, Genevieve, Jean L. Jenkiins, and Josiane Bran-Ricci. 1973. Eighteenth Century Musical Instruments, France and Britain: Les Instruments de Musique Au XVIIIe Siècle, France et Grande-Bretagne. London: Victoria & Albert Museum.
Thomé, G. 1990. “Promenade baroque: Un dimanche à La Couture Boussey [Baroque Promenade: A Sunday in La Couture Boussey].” Crescendo 32: 25–39.
Thompson, Richard. 1961. “The Anachronistic Recorder.” American Recorder 2 (4): 3.
Thompson, Susan E. 2009. “Friedrich von Huene Celebrates 70.” American Recorder 49 (1): 8–14.
Thomson, John Mansfield. 1976. Your Book of the Recorder. 2nd ed. London: Faber & Faber.
Thomson, John Mansfield. 1968. “The World of Musical Instruments.” Recorder and Music Magazine 2 (11): 250–52.
Tiella, Marco. 2004. “Die Blockflöten der Accademia Filarmonica di Bologna.” Windkanal, no. 3: 6–11. http://www.windkanal.de/images/stories/PDF/2004-3/WiKa-2004-3_accademia_filarmonica_di_bologna.pdf.
Tiella, Marco. 2005. “The Recorders of the Accademia Filarmonica Di Bologna.” In Musique de Joye: Proceedings of the International Symposium on the Renassiance Flute and Recorder Consort. Utrecht 2003, 117–61. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
Toffolo, Stefano. 1986. “La costruzione degli strumenti musicali a Venezia dal XVI al XIX secolo [The construction of musical instruments in Venice in the sixteenth to nineteenth centuries].” Il flauto dolce 14/15: 24–30.
Toffolo, Stefano. 1987. Antichi strumenti Veneziani 1500–1800: Quattro secoli di liuteria e cembalaria [Early Venetian Instruments, 1500s–1800s: Four Centuries of Instrument Making]. Venice: Arsenale Editrice.
Torp, Lisbet, and Ture Bergstrøm. 2000–2002. “Rosenborgfløtjerne: En eller to bygere? To blokfløjter afnarhvaltand i Det kongelige danske Kunstkammer [The Rosenborg Recorders, One or Two Makers? Two Recorders of Narwhale Tusk in the Royal Danish Art Chamber].” Meddelelser fra Musikhistorisk Museum og Carl Claudius’ Samling 8: 42–51.
Tricou, Georges. 1899. “Claude Rafi, ‘Fleustier.’” In Documents sur la musique à Lyon au XVIe siècle d’après de notes de M. Le Dr. Coutagne, 43–48. Lyon: Mougin-Rusand, Waltener et Cie, Succrs.
Tvauri, Andres, and Taavi-Mats Utt. 2007. “Medieval Recorder from Tartu, Estonia.” Estonian Journal of Archaeology / Eesti Arheoloogia Ajakiri 11 (1-2): 141–54. http://www.kirj.ee/public/Archaeology/2007/issue_2/arch-2007-2-3.pdf.
Utt, Taavi-Mats. 2006. “The Tartu Recorder.” ERTA Newsletter 23: 2.
Verloop, Gerard. 2002–2003. Het muziekinstrument op de boekenveiling, 1623-1775, 1776-1810; 1811-1850. Stichting Collectie Verloop. Privately printed.
Vichy Enchères. 2021. “Une flûte à bec de William Cotton avant appartenu au Duc de Luynes / A William Cotton Recorder that Belonged to the Duc de Luynes.” Exhibition Catalogue. Instruments de musique à vent et à cordes, 5-6 Novembre 2021. 2021. https://vichy-encheres.com/en/2021/10/03/flute-cotton-luynes/.
Voice, Nichola J. 2015. “Turners’ Guilds of Northern Italy: Their Role in Enabling Woodwind Instrument Manufacture from 1680–1844.” Ph.D. dissertation, Dunedin, New Zealand: University of Otago. http://hdl.handle.net/10523/5768.
Wackernagel, Bettina. 2005. Katalogue des Bayerischen Nationalmuseums, XXII. Tutzing: Hans Schneider.
Wagner, Josef. 2009. “Die “Fiauti d’Echo“ in Johann Sebastian Bach viertem Brandenburgischen Konzert (BWV 1049).” Tibia 17 (4): 576–85.
Ward, C. Leslie C. 1949. The Dolmetsch Workshops. Revised 1954-1961. Haslemere: Arnold Dolmetsch Ltd.
Warner, Robert A., and Friedrich von Huene. 1970. “The Baroque Recorders in the Stearns Collection of Musical Instruments.” Galpin Society Journal 23: 69–81.
Warner, Robert A., and Friedrich von Huene. 1968. “A Jacob Denner Recorder in the United States of America.” Galpin Society Journal 21: 88–96.
Waterhouse, William, ed. 1993. The New Langwill Index. London: Tony Bingham.
Waterhouse, William. 1988. “A Newly Discovered 17th Century Bassoon by Haka.” Early Music 16 (3): 407–10.
Waterhouse, William. 1993. “A Case of Flutes by Mr Bressan.” Galpin Society Journal 46: 162–63.
Waterman, Rodney. 1999. “Obituary: Frederick G. Morgan, Recorder Maker.” Recorder Magazine 19 (3): 79–80.
Waterman, Rodney. 1999. “Recorder Maker Frederick G. Morgan Dies in Automobile Accident in Australia.” American Recorder 40 (3): 6.
Waterman, Rodney. 1999. “Fred Morgan, Recorder Maker, 1940–1999.” Recorder & Early Music [Australia] 23: 3–5.
Waterman, Rodney. 1999/2004. Fred Morgan, Recorder Maker. Obituary and Discography. https://www.recorderhomepage.net/fredmorgan/
Waters, Simon. 2021a. “An Indigenous London Flute-Making Practice in the Early Eighteenth Century: The Case of Patrick Urquhart.” Galpin Society Journal 74.
Waters, Simon. In press. “A French Connection: Further Light on Urquhart and Cotton.” Galpin Society Journal. Supplementary Material. http://www.galpinsociety.org/supplementary_material.htm.
Weber, Rainer. 1976. “Recorder Finds from the Middle Ages, and Results of Their Reconstruction.” Galpin Society Journal 29: 35–41.
Weber, Rainer. 1975. “Some Researches into Pitch in the 16th Century with Particular Reference to the Instruments in the Accademia Filarmonica of Verona.” Galpin Society Journal 28: 7–10.
Weber, Rainer. 1992. “Der Flauto Harmonico-ein Seltenes Instrument und sein Erbauer [The f’lauto harmonico’ – a Rare Instrument and its Inventor].” Tibia 17 (1): 20–26. http://www.moeck.com/uploads/tx_moecktables/1992-1.pdf.
Weber, Rainer. 1998. “Säulenblockflöten–Columnarflöten–Colonnen? [Column recorders–Columnarflöten–Colonnen?” Musica instrumentalis, Zeitschrift für organologie 1: 94–105.
Weber, Rainer. 2005. “Eine Barocke Kostbarkeit [A Baroque Treasure].” Windkanal, no. 3: 26–28. http://www.windkanal.de/images/stories/PDF/2005-3/Windkanal_2005-3_Historische%20Blockfloeten_Weber.pdf.
Weber, Rainer. 2006. “Symmetrische Instrumentenpaare: Ein optisches und akustisches Phänomen bei Holzblasinstrumenten von 15. bis zum 19 Jahrhundert.” Tibia 31 (1): 26–32.
Weber, Rainer. 1981. “Die Instrumentensammlung der Accademia Filarmonica in Verona und Probleme ihrer Restaurierung [The Instrument Collection of the Accademia Filarmonica of Verona and Problems with its Restoration].” Tibia 6 (2): 313–19. http://www.moeck.com/uploads/tx_moecktables/1981-2.pdf.
Weber, Rainer. 1996. “Historische Holzblasinstrumente. Originale – Kopien – Nachschöpfungen.” In Der “schöne” Klang. Studien zum historischen Musikinstrumentenbau in Deutschland und Japan unter besonderer Berücksichtigung des alten Nürnberg, edited by Dieter Krickeberg, 47–52. Nuremberg: Verlag des Germanischen Nationalmuseums.
Weber, Rainer. 2007. “Einblicke in originale Blockflöten aus dem 16. bis 18. Jahrhundert.” Neues Musikwissenschaftliches Jahrbuch 15: 21–65.
Weller, Enrico. 1998. “Sociedades y cooperativas de constructores de instrumentos de viento en Vogtaland.” Musica instrumentalis: Zeitschrift für Organologie
Weller, Enrico. 2004. Der Blasinstrumentenbau im Vogtland von den Anfängen bis zum Beginn des 20. Jahrhunderts: Untersuchungen und Dokumentationen zur Geschichte eines Gewerbezweiges der Musikinstrumentenindustrie. 1. Aufl. Horb am Neckar: Geiger.
Wells, Elizabeth D. 1984. Royal College of Music, Museum of Instruments: Guide to the Collection. London: Royal College of Music.
Wenke, Wolfgang. 2001. Bestandskatalog zur Sammlung Musikinstrumente des Schlossmuseums Sondershausen [Catalogue of the Collection of Musical Instruments at the Castle Museum Sondershausen]. Sondershausen, Thuringia: Schlossmuseum.
Wenner, Martin. 1990. “Ein ‘Flauto Curvo’ [A Curved Recorder].” Tibia 15 (1): 44–45. http://www.moeck.com/uploads/tx_moecktables/1990-1.pdf.
Wenner, Martin. 1999. “Eine Terton-Blockflöte auf der Intensivstation … [A Terton Recorder in the Intensive Care Unit …].” Windkanal, no. 1: 22–23. http://www.windkanal.de/images/stories/PDF/1999-1/1999-1.pdf.
Williams, Alexandra. 2005. “The Dodo Was Really a Phoenix: The Renaissance and Revival of the Recorder in England 1879-1941.” Ph.D. dissertation, Melbourne: University of Melbourne. http://hdl.handle.net/11343/36930.
Wood, George Bernard. n.d. Woodwind Instruments in the Castle Museum, York. Published by N.D.
Yale University Collection of Musical Instruments. 2005. “Checklist.” http://www.yale.edu/musicalinstruments/Resources/Check-public.pdf.
Young, Phillip T. 1993. 4900 Historical Woodwind Instruments: An Inventory of 200 Makers in International Collections. London: Tony Bingham.
Young, Phillip T. 1967. “Woodwind Instruments by the Denners of Nürnberg.” Galpin Society Journal 20 (March): 9–16.
Young, Phillip T. 1980. The Look of Music: Rare Musical Instruments 1500-1900. Vancouver & Seattle: Vancouver Museums & Planetarium Associationr & University of Washington Press.
Young, Phillip T., A. Humer, and S. Gschwendtner. 1997. Die Holzblasinstrumente im Oberösterreichischen Landesmuseum / Woodwind Instruments of the Oberösterreichisches Landesmuseum. Kataloge des Oberösterreichischen Landesmuseums, Neue Folge 113. Linz: Oberösterreichisches Landesmuseum.
Zaniol, Angelo. 1983. “Communication 485: The NF Treble Recorder at the Museum Der Stadt Meran.” FoMRHI Quarterly 33: 14–16. http://www.fomrhi.org/uploads/bulletins/Fomrhi-033.pdf.
Zaniol, Angelo. 1984. “The Recorders of the Middle Ages and Renaissance.” Continuo, 8 (1): 2–7; (2): 12–15; (3): 6–9.
Zaniol, Angelo. 1982–1983. “A chaque musique sa flûte à bec [To each type of music its recorder].” Flûte à bec, 5: 32–35; 6: 3–14. http://www.moeck.com/uploads/tx_moecktables/1988-2.pdf.
Zapf, Michael. 2000. “Echo Flöte.” In Bachs Orchestermusik: Entstehung, Klangwelt, Interpretation : ein Handbuch, edited by Siegbert Rampe and Dominik Sackman, 279. Kassel: Bärenreiter Verlag.
Ziemann-Molitor, Hugo, and E. Ziemann-Molitor. 1930. Eine neue Grundlage im Musikunterricht an Volksschulen [A New Foundation for Music Education in Primary Schools]. Hamburg: Verlag Dr Rudolf Steiner Blätter.
Ziemann-Molitor, Hugo, and Elisabeth Ziemann-Molitor. 1933. Die C-Flöte, System Ziemann-Molitor: Charakteristik ihrer Bauart u. Greifweise mit Grifftab.; Ihr Wesensunterschied von Block- u. Czakanflöte [System Ziemann-Molitor Recorders: Characteristics of their Design and Fingering with Fingering Table; The Essential Difference between the Recorder and the Czakan]. Hamburg: Ziemann-Molitor.
Zimmermann, Josef. 1957. “Die Pfeifenmacherfamilie Walch in Berchtesgaden.” SAJM Zeitschrift, no. 11-12.
Zimmermann, Josef. 1967. Von Zinken, Flöten und Schalmeien: Katolog einer Sammlung historischer Holzblasinstrumente. A. Bezani: Birkesdorf-Düren.
“Jan Steenbergen, Recorder Maker.” 1984. Recorder and Music Magazine 8 (3): 75–76.
“1987 Acquisitions at USD Music Museum.” 1987. Newsletter of the American Musical Instrument Society 17 (2): 2.
“1989 Acquisitions at USD Music Museum.” 1989. Newsletter of the American Musical Instrument Society 19 (1): 14.
“Annotated Checklist of Recorders Made before 1800.” 1996–2014. National Music Museum The University of South Dakota. http://orgs.usd.edu/nmm/recorder.html.
“Mr Thomas Boekhout’s Bass Recorder.” 2002. Galpin Society Newsletter 3: 9.
“Renaissance Bass (basset) Recorder.” 1986. Newsletter of the American Musical Instrument Society 15 (3): 8–9.
Austellung alte Musik Instrumente Noten und Dokumente aus drei Jahrunderten. 1951. Munich: Musikverlag Max Hieber.
The Dolmetsch Collection of Musical Instruments. 1981. Forest Hill, London: The Horniman Museum.
100 Jahre Berliner Musinstrumenten-Museum, 1888-1988. 1988. Berlin: Staatliches Institut für Musikforschung Preusssicher Kulturbesitz.
“Inventory of Musical Instruments in the Public and Private Collections of Switzerland.” 1997. Gesellschaft Der Freunde Alter Musikinstrumente (GEFAM). http://www.gefam.ch/en/inventar_en/.
“Musical Instruments [Technical Drawings, X-Ray Photographs and Computer Tomographies of Instruments from the Germanisches National Museum].” 2013. http://www.gnm.de/fileadmin/redakteure/Museum/pdf/gnm_tz_roentgen.pdf.
Important Musical Instruments, Including the Van Zuylen Collection of Early Instruments, 16 March 1988. 1988. London: Christie, Manson & Woods Ltd.
Wind Instruments of European Art Music. 1974. Forest Hill, London: Horniman Museum.
Muskinstrumente aus dem Hessichen Landesmuseum 16-19 Jahrhundert. 1980. Darmstadt: Hessiches Landesmuseum.
The Flute from Hotteterre to Barrère. 1980. New York: New York Flute Club.
Moyse’s Hall Museum. 1995. Bury St Edmunds: St Edmundsbury Borough Counci.
Musical Instruments Auction Catalogue, London, November 22-23, 1989. 1989. London: Sotheby’s.
“[Advertisements].” 1998. Early Music 26 (3): 423, 428.
Catalogue of the European Musical Instruments of the XVIIth, XVIIIth and XIXth Centuries in the Ueno Gakuen Collection. 1989. Tokyo: Ueno Gakuen Educational Foundation.
An Illustrated Catalogue of the Music Loan Exhibition Held … by the Worshipful Company of Musicians of Fishmongers’ Hall, June and July 1904. 1909. London: Novello. https://archive.org/details/illustratedcatal00wors.
“Footjoint: The Tartu Recorder (14th-Century Recorder Found in Estonian Latrine).” 2006. Recorder Magazine 26 (2): 73.
“In Memoriam Fred Morgan.” 2000. Recorder & Early Music [Australia] 24: 3–7.
“Nobuo Toyama, Maker of Plastic Recorders.” 1995. American Recorder 36 (2): 3.
“Mittelalter-Blockflöte in Tartu/Estland gefunden [Medieval Recorder Found in Tartua, Estonia].” 2006. Windkanal, no. 2: 7.

Cite this article as: Lander, Nicholas S. 1996–2024. Recorder Home Page: Instruments: Historic makers, instruments & collections: Bibliography. Last accessed 30 December 2024. https://recorderhomepage.net/historic-makers-instruments-collections/bibliography/