Bibliography

This bibliography concerns the history of the recorder. A more convenient and flexible way of exploring it is via the Zotero citation database underlying this 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.

  • Adorno, Theodor W. 1956. Dissonanzen: Musik in der verwalteten Welt. Göttingen: Vandenhoeck & Ruprecht.
  • Alker, Hugo. 1962. Die Blockflöte: Instrumentenkunde – Geschichte – Musizierpraxis. Wien: H. Geyer.
  • Alpert, Lorenzo. 2015. “Die Echoflöte.” Historische Holzblasinstrumente Andreas Schöni. Accessed December 9. http://www.schoenibern.ch/site/assets/files/1031/echofloete_concerto_koeln.pdf.
  • Anderson, Natasha. 1994. “Streamlining for the Future.” Australia’s Journal of Recorder and Early Music 18: 8–10.
  • Ashbee, Andrew, David Lasocki, Peter Holman, and Fiona Kisby. 1998. A Biographical Dictionary of English Court Musicians, 1485-1717. Aldershot & Brookfield, VT.: Ashgate.
  • Augustin, Kristina. 1999. Um olhar sobre a música antiga: 50 anos de história no Brasil [A Look at Early Music: 50 Years of History in Brasil]. Rio de Janeiro: Kristina Augustin.
  • Aventure Ensemble (2016). Filling the gap, Eeen 15-eeuwse reconstructie in concert. https://fillingthegapreconstructionproject.wordpress.com/
  • Bainbridge, William. 1803–1812. The English & French Flageolet Preceptor in the Whole Art of Playing the Flageolet, Rendr’d Easy to Every Capacity. Edited by Jacob Head. London: Goulding Phipps & D’Almaine. http://www.flageolets.com/music/bainbridgepreceptor/bainbridgepreceptorcomplete.pdf.
  • Bali János. 2007. A furulya [The Recorder]. Budapest: Editio Musica Budapest.
  • Bamforth, Dennis A. 1993–1994. “The Recorder Orchestra. Part 1 (the History). Part 2 (the Music).” Recorder Magazine, 13 (2): 50–151; 14 (2): 41–42.
  • 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.
  • Barnes, Rachel. 2002. “New Instruments for New Music.” Recorder Magazine 22 (1): 30–31.
  • Bellson, Julius. 1973. The Gibson Story. Kalamazoo, Michegan: Julius Bellson.
  • Bergstrøm, Ture. 2002. “Early Baroque Recorders.” Ture Bergstroøms Instrrumentbyggeri. http://www.bergstrom.dk/ebrec.html.
  • Bergstrøm, Ture. 2020. “A Late Medieval Recorder from Copenhagen.” Galpin Society Journal 73: 220, 240, 244.
  • 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.
  • Bevan, Clifford et al. 1984. “Band.” In The New GROVE Dictionary of Musical Instruments, edited by Stanley J. Sadie, 1:120–43. London: Macmillan.
  • Bixler, Martha. 2007. “A History of the American Recorder Society: A Memoir [continued].” American Recorder 48 (3): 18–30.
  • Bixler, Martha. 2007. The American Recorder Society and Me … a Memoir. ISSUU. http://issuu.com/bixlerm/docs/ars-and-me-140820_final/index.html.
  • Blanchfield, David. 1972. “A Ninetenth-Century English Recorder.” Recorder Magazine 10 (2): 34–45.
  • Blusiewicz, K. 2011. “Sprawozdanie z ratowniczych badań archeologicznych przeprowadzonych na działce miejskiej nr 123 w Pucku we wrześniu 2010 roku oraz lipcu i sierpniu 2011 roku [Report on the archaeological research carried out at the municipal plot No. 123 in Puck in September 2010 and July and August 2011].” Maszynopis w Archiwum Zakładu Archeologii Późnego Średniowiecza i Czasów Nowożytnych Instytutu Archeologii Uniwersytetu Warszawskiego [Typescript in the Archives of the Department of Archeology of the late Middle Ages and modern times, Institute of Archeology, University of Warsaw].
  • Boeke, Kees. 1982. “Recorder Now.” Early Music 19 (1): 7–9.
  • Boragno, Pierre. 1998. “Flûtes du moyen age: éléments de recherche [Members of the Flute Family of the Middle Ages: Elements of Research].” Les cahiers de musique médiévale 2: 6–20.
  • Bornstein, Andrea. 1987. Gli strumenti musicali del Rinascimento [Musical instruments of the Renaissance]. Padova: Franco Muzzio.
  • Bornstein, Andrea, and Vittorio Nicolucci. 2000. “‘Il flauto dolce: Struttura, nomenclatura e cenni storici’ [The Recorder: Structure, Nomenclature, and a Brief History].” In Il flauto dolce: Dallo scolaro al virtuoso. Bologna: UT Orpheus Edizioni.
  • Bowers, Jane. 1979. “‘Flaüste Traverseinne’ and ‘Flûte d’Allemagne’: The Flute in France from the Late Middle Ages up through 1702.” “Recherches” Sur La Musique Française Classique 19: 7–49.
  • Bowman, Peter. 1994. “The Birth of a Truly Contemporary Recorder.” Recorder Magazine 15 (4): 126–27.
  • 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.
  • Braun, Gerhard. 1998. “New generation.” Windkanal, no. 1: 22–23. http://www.windkanal.de/images/stories/PDF/1998-1/1998-1.pdf.
  • Braun, Gerhard, and Nikolaus Delius. 1997. “Einige Gedanken zur Ästhetik der Blockflöte und des Blockflötenspiels im 20. Jahrhundert [Some Thoughts on the Aesthetic of the Recorder and Recorder Playing in the Twentieth Century].” In Sine musica nulla vita: Festschrift Hermann Moeck zum 75. Geburtstag am 16. September 1997, 91–107. Celle: Moeck Verlag.
  • Brewster, Charles W. 1859. Rambles about Portsmouth: Sketches of Persons, Localities, and Incidents of Two Centuries … Portsmouth, New Hampshire: Lewis W. Brewster. http://www.archive.org/details/ramblesaboutpor00brewgoog.
  • Bridge, Joseph Cox. 1901. “The Chester Recorders.” Proceedings of the Musical Association 27: 109–20.
  • Broege, Tom. 2004. “On the Cutting Edge: New Types of ‘modern’ Recorders Being Developed.” American Recorder 45 (1): 41–43. http://www.americanrecorder.org/docs/ARJan04body.PDF.
  • Brown, Howard Mayer. 1995. “The Recorder in the Middle Ages and the Renaissance.” In The Cambridge Companion to the Recorder, edited by John Mansfield Thomson and Anthony Rowland-Jones, 1–25. Cambridge: Cambridge University Press.
  • Buck, Jack L. 1972. “The Literature of the Twentieth Century Revival of the Recorder in America and England: An Annotated Bibliography.” M.A. theis, Long Beach: California State College.
  • Burger, Hans-Joachim, and Nik Tarasov. 2001. “Synpor – oder die Kunst des Erfindens [Synpor – or the Art of Invention].” Windkanal, no. 2: 14–18. http://www.windkanal.de/images/stories/PDF/2001-2/2001-2.pdf.
  • Burgess, Geoffrey. 2015. Well-Tempered Woodwinds: Friedrich von Huene and the Making of Early Music in a New World. Bloomington & Indianapolis: University Press.
  • Cambell, Margaret. 1975. Dolmetsch: The Man and His Work. London: Hamish Hamilton.
  • Carmichael, Craig. 1999. “Dynamics—and Tremolo, Too!” Recorder Magazine 19 (4): 131–33.
  • Carter, Walter. 1991. “Keeping the Flame Alive!” Amplifier
  • Cave, Charles John P. 1953. Medieval Carvings in Exeter Cathedral, with a Note on the Art of the Exeter Carvers by Nikolaus Pevsner. King Penguin Books 62. London: Penguin.
  • Cerone, Domenico Pietro. 1613. El melopeo y maestro. Naples. Antonio Ezquerro Esteban, ed., Monumentos de la música española, 74, Música Teoría Facsímiles (Barcelona: Institución “Milá i Fontanals,” Departamento de Musicología, 2007).
  • Corcoran, Ronald E. 1965. “Did Recorder Playing ‘Die Out’ in Britain?” Recorder and Music Magazine 1 (9): 261.
  • Cornstock, G.W. 1992. “An Early American Recorder Consort.” American Recorder 33 (4): 5.
  • Coune, Dominique. 1997. “Sur les chemins du baroque et du jazz . . . Le facteur de flˆtes à bec, Philippe Bolton, a créé une flûte électro- acoustique.” Les Amis de la Musique: Lutherie d’aujourd’hui. http://home.pi.be/~tor-4879/bolton.htm.
  • Crispin, B. 1968. “In the Minstrel’s Gallery.” Recorder & Music 2 (11): 358–59.
  • Davis, Hugh. 1984. “Cross-Grainger Free Music Machine.” In The New GROVE Dictionary of Musical Instruments, edited by Stanley J. Sadie, 1, A to F:517–18. London: Macmillan.
  • Degen, Johannes Dietz. 1936/1972. Zut Geschichte der Blockflöte in den germanaischen Läandern [The History of the Recorder in Germanic Countries]. Kassel: Bärenreiter.
  • Delong, Anne. 2015. “Make Your Own Recorder Mute – and Recycle Too!” Accessed September 26. http://annedelong.timetraces.ca/recorder_mute.htm.
  • Doht, Julia. 2006. “Die Göttinger Blockflöte [The Götingen Recorder].” Tibia 31 (2): 105–7.
  • Dolmetsch, Carl F. 1974. The School Recorder Book. Revised Edition. 3. Leeds: E.J. Arnold & Son.
  • Dolmetsch, Carl F. 1968. “Which Way to Turn the Clock?” Recorder and Music Magazine 2 (9): 283–84.
  • Dolmetsch, Carl F. 1986. “High F Sharp.” Recorder and Music Magazine 8 (9): 275.
  • 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.
  • Ehrlich, Robert. 1993. “Our Recorder Culture: A Pyramid Built on Sand?” American Recorder 34 (3): 7–11.
  • Ehrlich, Robert. 1990–1991. “Prejudice, Practice and Ride: How to Be a Happy Recorder Player.” Recorder: Journal of the Victorian Recorder Guild, 12: 1–5; 13: 5–13.
  • Epstein, Jan. 1988. “An Interview with Frans Brüggen.” Recorder: Journal of the Victorian Recorder Guild 8: 8–10.
  • Escalas, Romà. 2003–2015. “‘La difusión de la flauta de pico en Catalunya.” Audenis. http://www.audenis.com/es/articles/arti_2.html.
  • Fajardo, Raoul J. 1970. “Enhancing the Recorder Sound.” Recorder and Music Magazine 3 (5): 172–74.
  • Farqhuar, Ian. 2007. “The Recorder Orchestra.” Recorder Magazine 27 (2): 64–65.
  • Feider, Denise. 1994. “Mollenhauer Conrad, Blockflötenbau Fulda—ein Firmenportrait.” SAJM Zeitschrift 22 (5): 9–17.
  • Feider, Denise. 1993. “Zur Entwicklung der Blockflöte im 20. Jahrhundert [The Development of the Recorder in the Twentieth Century].” SAJM Zeitschrift, 21 (1): 19–36; (2): 3–17; (3): 3–17; (4): 3–17, 21.
  • Feider, Denise. 1994. “Contribution à l’étude de la renaissance de la flûte á bec au XXe siècle [Contribution to the Study of the Twentieth-century Revival of the Recorder].” Master’s dissertation, Lyon: Université Lumière.
  • Fischer, Johannes. 1996. “Hat die Zukunft im Blockflötenbau bereits begonnen? Eine neue Tenorblockflöte von Maarten Helder [Has the Future of Recorder Construction Already Arrived? A New Tenor Recorder by Maarten Helder].” Üben & Musizieren 6: 51–53.
  • Fosdick, Howard. 2018. “Tonettes, Song Flutes, Flutophones, and Precorders.” Bandworld Magazine. http://bandworld.org/magazine/index.php/tonettes-song-flutes-flutophones-and-precorders/.
  • Fröhlich, Susanne. 2019. “The New Potential of a 21st Century Recorder.” Dissertation, Graz: Universität für Musik und darstellende Kunst. https://www.dropbox.com/s/a06kz2py7r8hmbk/Susanne%20Froehlich_Dissertation_The%20new%20potential%20of%20a%2021st%20century%20recorder.pdf?dl=0
  • Garsault, François Alexandre Pierre de. 1761. Notionaire, ou mémorial raisonnée de ce qu ‘il y a d “utile et d”interessant. Paris: Desprez. https://archive.org/details/notionaireoumm00gars
  • Godby, Paul J. 1996. “Reflections of a Right-Handed Recorder Player.” American Recorder 37 (1): 11–13.
  • Godby, Paul J. 2002. “A New Tenor for Paul Godby.” American Recorder 43 (3): 16–17.
  • Godman, Stanley. 1959. “Francis William Galpin: Music Maker.” Galpin Society Journal 12: 8–16.
  • Gołembnik, Andrzej. 2000. “Płock we wczesnym średniowieczu [Płock in the Early Middle Ages].” In Historia Płocka w ziemi zapisana. Podsumowanie wyników dotychczasowych badań archeologicznych [History of Płock written in the ground. Summary results of previous archaeological research], edited by Andrzej Gołembnik, 13–48. Płock: Stowarzyszenie “Starówka Płocka.”
  • Gosson, Stephen. 1579. The Schoole of Abuse: Conteining a Plesaunt Inuective Against Poets, Pipers, Plaiers, Iesters and Such Like Caterpillers of a Commonwealth; Setting VP the Flagge of Defiance to Their Mischieuous Exercise, and Ouerthrowing Their Bulwarkes, by Prophane Writers, Naturall Reason, and Common Experience: A Discourse as Pleasaunt for Gentlemen That Fauour Learning, as Profitable for All That Wyll Follow Vertue. London: Thomas Woodcocke. http://hdl.handle.net/1794/738.
  • Green, David H. 1996. “Maarten Helder Harmonic Recorder: A New Tenor Recorder for the Performance of Contemporary Music.” Chrestologia 21 (3): 10–12.
  • Green, David H. 1996. “Adler-Heinrich Bell Recorders.” Chrestologia 21 (2): 6–9, 24.
  • Greenberg, Michael D. 2006. “Musical Instruments in the Archives of the French Court: The Argenterie, Menus, Plaisirs et Affaires de La Chambre, 1733–1792.” Journal of the American Musical Instrument Society 32: 5–79.
  • Grill, Tobias. 2007. “Die Rezeption der Alten Musik in München zwischen ca. 1880 und 1930.” Magisterarbeit [Masters Thesis], Munich: Ludwig Maximilians University. https://doi.org/10.5282/ubm/epub.6795.
  • Gutman, Veronika, ed. 19992. “Dokumentation: Die Konzertprogramme und die aufgeführten Werke [Documentation: The Conceit Programs and the Works Performed].” 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” ed, 179–390. Winterthur: Amadeus.
  • Hadley, Lynne L. 1971. “The Recorder in the Twentieth Century.” M.M. thesis, Denton: North Texas State University.
  • Hakelberg, Dietrich. 2002. “Was von einer ‘Klangschaft’ blieb? [What Remains of a Soundscape?].” Archäologie in Deutschland – Das Magazin 4: 31–32.
  • Hakelberg, Dietrich. 1995. “Some Recent Archaeo-Organological Finds in Germany.” Galpin Society Journal 48: 3–12.
  • Hall, Rodney. 1978. S. Manifold: An Introduction to the Man and His Work. St Lucia: University of Queensland Press.
  • Harras, Manfred, and Ludwig Finscher. 1994. “Blockflöte [Recorder].” In Die Musik in Geschichte Und Gegenwart, Edn 2. Kassel: Bärenreiter.
  • Haskell, Harry. 1996. The Early Music Revival. London: Thames & Hudson.
  • Hauwe, Walter van. 1997. “Recorder vs Blockflute.” Windkanal, no. 2: 6–7. http://www.windkanal.de/images/stories/PDF/1997-2/1997-2.pdf.
  • Hauwe, Walter van. 1990. “Plädoyer für eine Akzentverschiebung im Blockflötenunterricht [Plea for a Shift in Emphasis in Recorder Instruction].” Tibia 15 (2): 128–31. http://www.moeck.com/uploads/tx_moecktables/1990-2.pdf.
  • Hauwe, Walter van. 1995. “The Recorder in Crisis? A View from the Dutch Conservatory.” Recorder Education Journal 2: 75–77.
  • Haynes, Bruce. 1968. “‘The Decline of the Recorder in the 18th Century’: A Further Scrutiny.” Recorder and Music Magazine 2 (8): 240–42.
  • Head, Jacob. 2004–2015. “The Pleasant Companion: The Flageolet Site.” http://www.flageolets.com/.
  • Head, Jacob. 2015. “The English Flageolet.” The Pleasant Companion: The Flageolet Site. http://www.flageolets.com/articles/introduction/english.php.
  • Hendriksz., Tadek R. 2016. “CT-scan van de Dordtse blokfluit: niet omdat het moet, maar omdat het kan! [CT scan of the recorder from Dordrecht: not because you have to, but because you can!].” Filling the gap: een 15e-eeuwse reconstructie in concert. 2016. https://fillingthegapreconstructionproject.wordpress.com/dordrecht-blokfluit/ct-scan-dordrecht-blokfluit/.
  • 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.
  • Hernández, F.J.S. 1998. “Commentarios sobre el nombre del instrumento [Comments on the Name of the Instrument].” Revista de flauta de pico 12: 30.
  • Heyde, Herbert. 1978. “Flöten.” In Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig Katalog, 1:55. Leipzig: VEB Deutscher Verlag für Musik.
  • Higbee, Dale. 1965. “The Recorder and Its Literature.” Music Journal 23: 56–57.
  • 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/.
  • Himmelbauer, Regina. 2017. “Die Blockflöte in Israel [The recorder in Israel].” Windkanal, no. 1.
  • Holtslag, Peter. 2006. “Streifzüge durch acht Jahrhunderte Blockflötengeschichte [Expeditions through Eight Centuries of Recorder History].” Tibia, 31 (2): 108–12; (4): 264–68.
  • Holtslag, Peter. 1994. “The present state of the recorder in England.” Recorder  Magazine 14 (3): 79.
  • 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.
  • Hotteterre, Jacques. 1707. Principes de la flûte traversière, ou flûte d’Allemagne, de la flûte à bec, ou flûte douce, et du haut-bois diviséz par traitéz [Principles of the Flute, Recorder, and Oboe, Divided into Treatises]. Paris: Christophe Ballard. http://imslp.org/wiki/Principes_de_la_flute_traversiere,_de_la_Flute_a_Bec,_et_du_Haut-bois,_Op.1_(Hotteterre,_Jacques).
  • Huene, Friedrich von. 1994. “Efforts to Modernize the Recorder.” Recorder Magazine 15 (4): 135–37.
  • Hughes, Geoff. 1991. “Victorian Recorders before the Guild.” Journal of the Victorian Recorder Guild 14: 18–20.
  • Hulthèn, A.L. 1997. “Ragnar blandar tekniken med musiken = Ragnar Blends Technology with Music.” Kontakt
  • Hunt, Edgar H. 1981. “Another One-Handed Recorder.” Recorder & Music 7 (3): 66–67.
  • Hunt, Edgar H. 1982. “The One-Handed Recorder.” Recorder and Music 7 (6): 145.
  • Hunt, Edgar H. 1972. “European Impressions: Dutch Playing, Modern and Historic Instruments.” Recorder and Music Magazine 4 (4): 122–23.
  • Hunt, Edgar H. 1961. “Recorder Fingerings.” Galpin Society Journal 14: 75–76.
  • Hunt, Edgar H. 1962. “The Renaissance Recorder.” Consort 19: 112–21.
  • Hunt, Edgar H. (1962) 2002. The Recorder and Its Music. Revised and enlarged. Hebden Bridge: Peacock Press.
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  • Janovka, Tomáš Baltazar. 1701. Clavis ad thesaurum magnae artis musicae. Prague: G. Labaun. Repr. Knuf, F. (1973). Dictionaarium musicum. Vol. 2. University of Michigan, Ann Arbor.
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  • Jürisalu, Heino. 1987. “Blockflötenmusik in der Sowjetunion [Recorder Music in the Soviet Union].” Tibia 12 (1): 364–66. http://www.moeck.com/uploads/tx_moecktables/1987-1.pdf.
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  • Kapur, Ajay. 2005. “A History of Robotic Musical Instruments.” In Proceedings, International Computer Music Conference. Barcelona. http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.380.908&rep=rep1&type=pdf.
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  • Kajitani, Makoto. 1992. “Simulation of Musical Performances.” Journal of Robotics and Mechatronics 4 (6): 462–65.
  • Kalender, H.C. Willi A., Achim Langenbucher, Michael Meyer, Thomas Sauer, Andreas Spindler, and Wolfgang Spindler. 2009. “Vermessung mittelalterlicher Musikinstrumente. Hand-out zur Pressevorstellung. Donnerstag, 9. April 2009, 10.30. Bibliothek des Institut für Medizinische Physik, Friedrich-Alexander-Universität Erlangen-Nürnberg [Survey of Medieval Musical Instruments. Hand-out for Press Launch. Thursday, April 9, 2009, at 10.30. Library of the Institute of Medical Physics, University of Erlangen-Nuremberg].” Capella Antiqua Bambergensis. April 9, 2009. http://www.capella-antiqua.de/01-main-g/intro/media/Handout.pdf.
  • Kato, Tomonori, Yoshiyuki Kawamura, Kenji Kawashima, and Toshiharu Kangawa. 2011. “Control of Blown Air for a Soprano-Recorder-Playing Robot Using Unsteady Flow Rate Measurements and Control Techniques.” In Proceedings of the 8th JFPS International Symposium on Fluid Power, 626–32. Okinawa: Journal of the Fluid Power Society. http://www.jfps.jp/proceedings/okinawa2011/pdf/2D1-3.pdf.
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  • Kinsell, David. 1976. “J.C. Bridge and the Recorder.” Recorder and Music 5 (5): 157–60.
  • Kinsky, George, Robert Haas, and Hans Schnoor. 1930. A History of Music in Pictures. London: J. Dent & Sons.
  • Kirnbauer, Martin. 2002. “Musikzeugnisse des Mittelalter [Musical Finds from the Middle Ages].” Archäologie in Deutschland 6: 54–55.
  • 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 Crawford Young. 2001. “Musikinstrumente aus einer mittelalterlichen Latrine.” Institutsbeilage der Schola Cantorum.
  • Koch, John. 1971. “William Koch: 1892–1970.” American Recorder 12 (1): 5–9.
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  • Köhler, Wolfgang. 1987. “‘Die Blütezeit der Blockflöte: Anmerkungen zur historischen Stellung eines Instrumentes’ [The Heyday of the Recorder: Remarks on the Historical Position of an Instrument].” Tibia 12 (2): 421–26. http://www.moeck.com/uploads/tx_moecktables/1987-2.pdf.
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  • Kunath, Jo. 1997. “Total abgedrecht-völlig hochgeschraubt?! [All Twisted Off: Completely Screwed on Tight?!].” Windkanal, no. 2: 24–25. http://www.windkanal.de/images/stories/PDF/1997-2/1997-2.pdf.
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Cite this article as: Lander, Nicholas S. 1996–2024. Recorder Home Page: History: Bibliography. Last accessed 21 December 2024. https://recorderhomepage.net/history/bibliography/