Interpretation

This bibliography covers a range of topics concerning the interpretation of music arranged under a number of useful headings. It will be of general interest to musicians who find themselves playing baroque and pre-baroque works. However, the focus is largely on the literature of relevance to recorder players. 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.

General References

  • Baack, Thomas. 2020. “Lieder ohne Worte – das 18. Jahrhundert [Songs without words – the 18th century].” Windkanal, no. 4.
  • Bowman, Peter. 2017. “Authenticity and Preparing for Performance.” Recorder Magazine 37 (4):147–48.
  • Brown, Howard Mayer, and Stanley J. Sadie. 1989. Performance Practice. Music before 1600. New York & London: Norton.
  • Burton, Anthony, ed. 2002. A Performer’s Guide to Music of the Baroque Period. London: Associated Board of the Royal Schools of Music.
  • Butt, John. 2002. Playing with History: The Historical Approach to Musical Performance (Musical Performance and Reception). Cambridge: Cambridge University Press.
  • Cyr, Mary. 2003. Performing Baroque Music. Portland, Oregon: Amadeus Press.
  • Cyr, Mary. 2008. Essays on the Performance of Baroque Music. Variorum Collected Studies. Ashgate: Farnham.
  • Dart, Thurston. 1954. The Interpretation of Music. London: Hutchinson.
  • Dikmans, Greg. 1991–2014. “Early Music and Historically Informed Performance Practice.” http://earlymusic.dikmans.net/.
  • Dolmetsch, Arnold. 1915. The Interpretation of the Music of the Seventeenth and Eighteenth Centuries Revealed by Contemporary Evidence. Handbooks for Musicians. London: Novello. http://imslp.org/wiki/The_Interpretation_of_the_Music_of_the_17th_and_18th_Centuries_(Dolmetsch,_Arnold).
  • Donington, Robert. 1989. The Interpretation of Early Music: New Version. London: Faber & Faber.
  • Donington, Robert. 1982. Baroque Music: Style and Performance. London: Faber Music.
  • Donington, Robert. 1973. A Performer’s Guide to Baroque Music. London: Faber & Faber.
  • Dreyfus, Laurence. 1983. “Early Music Defended against Its Devotees: A Theory of Historical Performance in the Twentieth Century.” Musical Quarterly 69 (3): 297–322.
  • Duffin, Ross W. (2000) 2002. Performer’s Guide to Medieval Music. Early Music America: Performer’s Guides to Early Music (Music: Scholarship and Performance). Bloomington: Indiana University Press.
  • Duffin, Ross W. 1995. “Performance Practice: Que Me Veux-Tu [What Do You Want from Me?].” http://musicserver.case.edu/~rwd/EMPP/ppqmvt/p1.html.
  • Engelke, Ulrike. 2018. Melodie Als Klangrede [Melody as Musical Speech]. Münster: Agenda Verlag.
  • Fuller, David. 1989. “The Performer as Composer.” In Performance Practice: Music after 1600, edited by Howard Mayer Brown and Stanley J. Sadie, Chapter 6. London: Norton.
  • Haskell, Harry. 1996. The Early Music Revival. London: Thames & Hudson.
  • Haspels, Jan J.L. 1987. Automatic Musical Instruments: Their Mechanics and Their Music, 1580-1820. Koedijk: Nirota, Muziekdruk C.V.
  • Haynes, Bruce, and Marc Ecohard. 1988. “Les diapasons a l’epoque de Jean-Sébastien Bach. III: Description de diapasons anciens; sources, hauteurs relatives et absolues.” Flûte a bec et instruments anciens 24 (March): 11–18.
  • Haynes, Bruce. 2007. The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century. Oxford & New York: Oxford University Press.
  • Hund-Davies, Malcolm. 1978–1979. “A Review of Historical Styles of Recorder Playing.” Recorder & Music, 6 (3): 66–68 (1978); (4): 98–100 (1978), (5): 133–35 (1979).
  • Jackson, Roland. 2005. Performance Practice: A Dictionary-Guide for Musicians. Abington & New York: Routledge.
  • Kelly, Michael J. 2014. The Encyclopedia of Aesthetics. 2nd ed. 4 vols. New York: Oxford University Press. http://www.oxfordreference.com/view/10.1093/acref/9780199747108.001.0001/acref-9780199747108.
  • Kenyon, Nicholas. 1988. Authenticity and Early Music: A Symposium. Oxford.
  • Kite-Powell, Jeffrey T. 2007. A Performer’s Guide to Renaissance Music. 2nd ed. Publications of the Early Music Institute. Bloomington: Indiana University Press.
  • Kivy, Peter. 1995. Authenticities: Philosophical Reflections on Musical Performance. Ithaca: Cornell University Press.
  • Kneihs, Hans M. 1985. “Musical Structure and Interpretation with Reference to Marcello’s Sonata in D Minor.” Recorder: Journal of the Victorian Recorder Guild 3: 15–19.
  • Kneihs, Hans M. 2002. “A Dialogue about Interpretation, by Way of Barsanti.” Recorder Education Journal 8: 2–5.
  • Kreitner, Kenneth. 2011. Renaissance Music. Vol. 2. The Library of Essays on Music Performance Practice. Farnham: Ashgate.
  • Kuijken, Barthold. 2013. The Notation Is Not the Music: Reflections on Early Music Practice and Performance. Publications of the Early Music Institute. Indiana: Indiana University Press.
  • Lasocki, David R.G. 1994. “Historical Recorder Methods and ‘authentic’ Performance.” Recorder Education Journal 1: 47–53. http://www.instantharmony.net/Music/REJ_1-1994.pdf.
  • Lasocki, David R.G. 1991. “The Great Authenticity Debate.” Recorder: Journal of the Victorian Recorder Guild 14: 1–8.
  • Lasocki, David R.G. 1979. “Preluding on the Recorder in England in the Early 18th Century.” Recorder and Music 6 (7): 194–97. http://www.instantharmony.net/Music/R&M-9-1979.pdf.
  • Lasocki, David R.G. 1977. “Authenticity’ in Performances of Early Music.” Recorder & Music 5 (12): 384–87.
  • Leech-Wilkinson, Daniel. 2007. The Modern Invention of Medieval Music. Cambridge: Cambridge University Press.
  • Leech-Wilkinson, Daniel. 1994. “The Limits of Authenticity: A Discussion.” Early Music 12 (1): 13–16.
  • Marvin, Bob. 1968. “Playing French Late Baroque Music on on the Recorder.” American Recorder 9 (2): 39–41.
  • Mather, Betty B. 1978. Interpretation of French Music from 1675 to 1775 for Woodwind and Other Performers; Additional Comments on German and Italian Music. New York: McGinnis & Marx.
  • Mather, Betty B., and David R.G. Lasocki. 1984. The Art of Preluding, 1700-1830, for Flutists, Oboists, Clarinettists and Other Performers. New York: McGinnis & Marx. http://www.instantharmony.net/Music/eb7.php.
  • McGee, Timothy J. 1985. Medieval and Renaissance Music. A Performer’s Guide. Toronto, Buffalo & London: University of Toronto Press.
  • Meconi, Honey. 2011. Medieval Music. The Library of Essays on Music Performance Practice 1. Farnham: Ashgate.
  • Mons, Josef. 2002. “Von Lully zu Ellington oder: Was hat die Inégalité mit der Jazzphrasierung gemein? [From Lully to Ellington; or, What Does Inequality Have in Common with Jazz Phrasing?].” Windkanal, no. 4: 6–11. http://www.windkanal.de/images/stories/PDF/2002-4/2002-4-6-11-Von-Lully-zu-Ellington.pdf.
  • Montagu, Jeremy. 1980. “The Sound of Music.” Consort 36: 355–60.
  • Mundhenke, Heike. 1991. “Blockflöte und Klavier—Möglichkeiten und Schwierigkeiten des Zusammenspiels [Recorder and Piano—Possibilities and Difficulties of Playing Together].” Tibia 16 (3): 501–8.
  • Neumann, Frederick, and Jane R. Stevens. 1993. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer.
  • Ord-Hume, Arthur W.J.G. 1973. Clockwork Music: An Illustrated History of Mechanical Musical Instruments. Crown.
  • Ose, Karsten, and Dorothee Oberlinger. 2009. “Betrachtungen Zum Stilistischen Wandel Der Interpretationen Hochbarocker Blockflötenmusik von 1960 Bis 2000 [Considerations of the Stylistic Changes in Interpretation of Late Baroque Recorder Music from 1960 to 2000].” In Flötenmusik in Geschichte Und Aufführungspraxis Zwischen 1650 Und 1850: XXXIV. Wissenschaftliche Arbeitstagung Michaelstein, 5. Bis 7. Mai 2006, Hrsg. Boje E. Hans Schmuhl in Verbindung Mit Ute Omonsky, 287–97. Augsburg: Wißner; Michaelstein: Stiftung Kloster Michaelstein.
  • Panckoucke, Charles-Joseph, ed. 1788. Encylopédie Méthodique ou par ordre de matières par une société de gens de lettres, de savants et d’artistes ; précédée d’un Vocabulaire universel, servant de Table pour tout l’Ouvrage, ornée des Portraits de MM. Diderot et d’Alembert, premiers Éditeurs de l’Encyclopédie. Paris, Liège: Charles-Joseph Panckoucke, Clement Plomteux.
  • Parrish, Carl. 1978. The Notation of Early Music. New York: Pendragon Press.
  • Pasquale, Marco di. 2020. “Silvestro Ganassi: A Documented Biography.” Recercare 31/1-2 2019: 29-102. 31 (1-2 (2019)): 29–102.
  • Phillips, Elizabeth V., and John-Paul C. Jackson. 1986. Performing Medieval and Renaissance Music: An Introductory Guide. New York: Macmillan.
  • Playford, John. 1654. A Breefe Introduction to the Skill of Musick. https://archive.org/details/introductiontosk00play.
  • Polk, Keith. 2005. German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice. Cambridge Musical Texts and Monographs. Cambridge: Cambridge University Press.
  • Garrido, Gabriel. 1982. “La flûte à bec dans la musique italienne: Propositions d’interprétations [The Recorder in Italian Music: Propositions for Interpretation].” Flûte à bec 3: 34–35.
  • Quantz, Johann J. 1752a. Essai d’une mé pour apprendre à jouer de la flûte traversiere [Essay on How to Play the Flute]. Berlin: Chrétien Frédéric Voss. https://archive.org/details/essaidunemthode00quangoog
  • Quantz, Johann J. 1752b. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Berlin: Chrétien Frédéric Voss. http://imslp.org/wiki/Versuch_einer_Anweisung_die_Flöte_traversiere_zu_spielen_(Quantz,_Johann_Joachim)
  • Quantz, Johann J. (1789) 1953. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Edited by Hans-Peter Schmitz. Domumenta musicologica 1. Reihe: Druckshcriften-Faksimiles, 2. Kassel: Bärenreiter.
  • Quantz, Johann J. (1752) 1975. Essai d’une mé pour apprendre à jouer de la flûte traversiere [Essay on How to Play the Flute]. 2nded. Paris: Editions Aug. Zurfluh.
  • Quantz, Johann J. (1752a) 1988. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Edited by Barthold Kuijken. Weisbaden: Breitkopf & Härtel.
  • Quantz, Johann J. (1752b) 1988. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Munich; Kassel: Deutscher Taschenbuch Verlag; Bärenreiter.
  • Quantz, Johann J. (1757) 2001. On Playing the Flute. Edited and translated by Edward R. Reilly. 2nd ed. Lebanon (NH): Northeastern University.
  • Rastall, Richard. 2008. The Notation of Western Music. An Introduction. 2, revised. London: Travis & Emery Music Bookshop.
  • Richman, James. 1998. “Taruskin Agonistes: ‘Text and Act’ Reconsidered.” American Recorder 39 (4): 15–19 & 38.
  • Rink, John. 2005. The Practice of Performance: Studies in Musical Interpretation. Cambridge: Cambridge University Press.
  • Roberts, Helen. 2020. Passaggi (version 1.0). Apple, Android. Frome, Sumerset: Septenary Editions. https://www.passaggi.co.uk/.
  • Rowland-Jones, Anthony. 1992. Playing Recorder Sonatas: Interpretation and Technique. Oxford: Clarendon Press.
  • Rowland-Jones, Anthony. 1995. Playing Recorder Duets: A Guide to the Repertoire for Two Unaccompanied Recorders. Bristol: Allegro.
  • Rowland-Jones, Anthony. 1992. “First Steps in Applying French Polish.” American Recorder 33 (3): 9–13.
  • Rowland-Jones, Anthony. 2003. A Practice Book for the Treble Recorder. 2nd ed. Hebden Bridge: Ruxbury Publications.
  • Salvatorelli, Franco, ed. 1974–1976. “Due giorni con Frans Brüggen [Two Days with Frans Brüggen].” Il flauto dolce 5: 5: 3–18, 23–27 (1974); 6: 3–22 (1976).
  • Schab, Alon. 2022. A Performer’s Guide to Transcribing, Editing, and Arranging Early Music. New York, NY: Oxford University Press.
  • Shermann, Bernard D. 1998. “Authenticity in Musical Performance.” In The Encyclopedia of Aesthetics, edited by Michael J. Kelly. New York: Oxford University Press. http://www.bsherman.net/encyclopedia.html.
  • Spanhove, Bart. 2000. The Finishing Touch of Ensemble Playing. Peer: Alamire.
  • Staeps, Ulrich. 1966. Problems and Readings of Historical Models: Concerning the Recorder Literature of the Late Baroque. Vienna: Doblinger.
  • Steinbeck, Anke, ed. 2019. Auf der Suche nach dem Ungehörten, Improvisation und Interpretation in der musikalischen Praxis der Gegenwart [In Search of the Unheard , Improvisation and Interpretation in Contemporary Musical Practice]. Improvisation im heutigen Musikbetrieb [Improvisation in Today’s Music Industry] 2. Bergheim: Verlag Christoph Dohr.
  • Taruskin, Richard. 1995. Text and Act. Essays on Music and Performance. London, New York: Oxford University Press.
  • Taruskin, Richard. 1988. “The Pastness of the Present and the Presence of the Past.” In Authenticity and Early Music: A Symposium, edited by Nicholas Kenyon, Chapter 6. Oxford: Oxford University Press.
  • Thorn, Benjamin. 1991. “Will the Real Recorder Please Stand Up?” Recorder: Journal of the Victorian Recorder Guild 13: 1–2.
  • Van Gele, Geert. 2019. Thoughts on the Recorder. Borgerhout: InterCulturate. http://www.kattenbergrecordings.be/geertvangele/Thoughts.html.
  • Veilhan, Jean-Claude. 1979. The Rules of Musical Interpretation in the Baroque Era. Translated by John Lambert. Paris: Leduc.
  • Vinquist, Mary. 1974. “Recorder Tutors of the Seventeenth and Eighteenth Centuries; Technique and Performance Practice.” Ph.D dissertation, chapel Hill: University of North Carolina. UMI order no. 75-15714.
  • Vinquist, Mary, and Neal Zaslaw. 1971. Performance Practice: A Bibliography. New York: The Norton Library.
  • Wainwright, Johnathan, and Peter Holman, eds. 2005. From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seveteenth Century. Farnham: Ashgate.
  • Waitzman, Daniel. 1978. The Art of Playing the Recorder. New York: AMS Press.
  • Waitzman, Daniel. 2012. “Up from Authenticity, or How I Learned to Love the Metal Flute – A Personal Memoir.” Amazon Digital Services, Inc. http://www.amazon.com/Authenticity-Learned-Flute–A-Personal-ebook/dp/B008G5X2A6/ref=sr_1_2?ie=UTF8&qid=1341551394&sr=8-2&keywords=up+from+authenticity.
  • Walls, Peter, ed. 2011. Baroque Music. Vol. 3. The Library of Essays on Music Performance Practice. Farnham: Ashgate.
  • Warner, Thomas E. 1964. “Indications of Performance Practice in Woodwind Instruction Books of the 17th and 18th Centuries.” Ph.D. dissertation, New York: New York University. UMI Order no. 65-01678.
  • Winters, Ross. 1992. “Historical Source Material.” Recorder Magazine 12 (3): 77–81.
  • Wollitz, Ken. 1982. The Recorder Book. New York: Alfred A. Knopf.

Dynamics

  • Bergmann, Walter. 1974. “Recorder Dynamics.” Recorder & Music 4 (9): 316–17.
  • Bowman, Peter. 1997. “Test Pad: Dynamics, an Unrealistic Expectation or … ? (Part 2).” Recorder Magazine 17 (1): 9–11.
  • Bowman, Peter. 1995. “The Use of Non-Standard or Alternative Fingerings.” Recorder Magazine 15 (3): 84–85.
  • 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.
  • Carmichael, Craig. 1999. “Dynamics—and Tremolo, Too!” Recorder Magazine 19 (4): 131–33.
  • Dolmetsch, Carl F. 1996. “The Recorder in Evolution.” Recorder Magazine 16 (2): 56–57.
  • Fischer, Johannes. 1990. Die dynamische Blockflöte [The dynamic recorder]. Celle: Edition Moeck 4048.
  • Hauwe, Walter van. 1984–1992. The Modern Recorder Player. 3 vols. London: Schott Edition 12150, 12270, 12361.
  • Kneihs, Hans M. 1985. “Musical Structure and Interpretation with Reference to Marcello’s Sonata in D Minor.” Recorder: Journal of the Victorian Recorder Guild 3: 15–19.
  • Koschitzki, Daniel. 2009. “Kleine Halterung für großen Sound: Neuartige Mikrofonhalterung für Blockflöten [A Little Support for a Large Sound: New Microphone Support for Recorders].” Windkanal, no. 4: 16–17.
  • Kottick, Edward L. 1975. Tone and Intonation on the Recorder. New York: McGinnis & Marx.
  • Loretto, Alec V. 2000. “Communication 1741: Recorder Dynamics.” FoMRHI Quarterly 102: 15. http://www.fomrhi.org/uploads/bulletins/Fomrhi-102.pdf.
  • Madge, Peter N. 2008. “Communication 1816: Modification of Recorder Blocks to Improve Sound Production.” FoMRHI Quarterly 110: 9–19. http://www.fomrhi.org/uploads/bulletins/Fomrhi-110.pdf.
  • Mundhenke, Heike. 1991. “Blockflöte und Klavier—Möglichkeiten und Schwierigkeiten des Zusammenspiels [Recorder and Piano—Possibilities and Difficulties of Playing Together].” Tibia 16 (3): 501–8. http://www.moeck.com/uploads/tx_moecktables/1991-3.pdf.
  • Reichenthal, Eugene. 1991. “Effective Use of Exceptional Fingering.” American Recorder 32 (4): 16–17.
  • Robinson, Andrew. 1997. “Quiet High Notes: An Extraordinary Discovery.” Recorder Magazine 17 (4): 139.
  • Rose, Pete. 1996. “In Living Color: How to Use Alternate Fingerings to Produce Timbre and Dynamic Effects in a Musical Way.” American Recorder 37 (2): 12–15.
  • Rose, Pete. 1996. “A New Recorder for New Music.” American Recorder 37 (4): 18–10.
  • Rose, Pete. 1993. “Gerhard Braun on the Recorder and Education in Germany.” American Recorder 34 (3): 12.
  • Rowland-Jones, Anthony. 2003. Recorder Technique, Intermediate to Advanced. 3rd ed. Hebden Bridge: Ruxbury Publications.
  • Stavenhagen, Andreas. 1996. “Bei den Holzbläsinstrumenten findet man zurück zu alten Klangidealen [Returning to Old Sound Ideals on Woodwind Instruments].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 45 (4): 68–77.
  • Tarasov, Nik. 1997. “Stationen [Stations].” Windkanal, no. 1: 8–9.
  • Tarasov, Nik. 2002. “Klangrede & Klang [Sounding Discourse and Sound].” Windkanal, no. 2: 6–9. http://www.windkanal.de/images/stories/PDF/2002-2/Windkanal_2002-02_S06-09.pdf.
  • Van Gele, Geert. 2019. Thoughts on the Recorder. Borgerhout: InterCulturate. http://www.kattenbergrecordings.be/geertvangele/Thoughts.html.
  • Vetter, Michael. 1969. Il flauto dolce ed acerbo [The Sweet and Bitter Flute]. Celle: Edition Moeck 4009.
  • Zimmermann, Manfredo. 1994. “Messa Di Voce on the Recorder—a Mere Wish.” ERTA Newletter (UK), no. 6.

Ornamentation

  • Baines, Emily Joye. 2019. “The Ghost in the Machine: The Role of Mechanical Musical Instruments as Primary Sources for Eighteenth-Century Performance Practice in England, and an Examination of the Style(s) Contained Therein.” Ph.D. dissertation, London: Guildhall School of Music & Drama. https://openaccess.city.ac.uk/id/eprint/23095.
  • Bali, János. 2005. A Baroque Ornamentation Tutor for Recorder. Budapest: Editio Musica Budapest.
  • Betz, Marianne. 1983. “Verzierungspraxis im italienischen Stil am Beispiel der Sonate op. 5/9 von A. Corelli [Ornamenatation in the Italian Style as Exemplified in Arcangelo Corelli’s Sonata, Opus. 5, No. 9].” Tibia 8 (2): 343–50. http://www.moeck.com/uploads/tx_moecktables/1983-2.pdf.
  • Bixler, Martha. 1967–1978. “An Introduction to Renaissance Ornamentation.” American Recorder, 8(4): 107–9 & 9(4): 108–12.
  • Blood, Brian. 2015. “Ornamenation.” Music Theory Online. Accessed October 12. http://www.dolmetsch.com/musictheory23.htm.
  • Bowman, Peter. 1999. “Ornamentation in the Works of Pierre Danican-Philidor.” Recorder Education Journal 5: 12–20.
  • Brown, Howard Mayer. 1976. Embellishing Sixteenth-Century Music. Early Music Series. London: Oxford University Press.
  • Caccini, Giulio. 1601. Le nuove musiche. Florence: I. Mariscotti. http://imslp.org/wiki/Le_nuove_musiche_(Caccini,_Giulio).
  • Channing, John. 1690–1700. “Rules for Gracing on the Flute.” London. British Library Add. Ms. 35043.
  • Conrad, Ferdinand. 1969. “Embellishments in Baroque Music: An Approach to a Practical Method.” Recorder and Music Magazine 3 (2): 51–57.
  • Dalla Casa, Girolamo. 1584. Il Vero Modo di diminuir con tutte le sorti di stromenti di fiato, e corda, e di voce humana … [The Correct Way of Playing Divisions on All Types of Wind and Stringed Instruments, and With the Human Voice …]. 2 vols. Venice: Angelo Gardano. http://imslp.org/wiki/Il_vero_modo_di_diminuir_(Dalla_Casa,_Girolamo)
  • Dalla Casa, Girolamo. (1584) 1976. La vraie maniere de diminuer, avec toutes les sortes d’instruments, a vent, a cordes et a la voix humaine. Translated by Jaques Leguy and S. Leguy. Paris: Le Droit Chemin de Musique.
  • Dalla Casa, Girolamo. 1989. “Il Vero Modo Di Diminuir [The Correct Way of Playing Divisions]: [To the Readers].” Translated by Jesse Rosenberg. Historic Brass Society Journal 1: 109–14. http://www.historicbrass.org/portals/0/documents/journal/HBSJ_1989_JL01_007_Rosenberg_6779.pdf.
  • Dalla Casa, Girolamo. (1584) 1980. Il vero modo di diminuir, con tutte le sorti di stromenti [The correct way of playing divisions on all types of instruments]. Edited by Giusepe Vecchi. Bibliotheca Musica Bononiensis, Sezione 2, n. 23. Bologna: Arnaldo Forni.
  • Dalla Casa, Girolamo. (1584) 1989. “Il Vero Modo Di Diminuir [The Correct Way of Playing Divisions]: [To the Readers].” Translated by Jesse Rosenberg. Historic Brass Society Journal 1: 109–14. http://www.historicbrass.org/portals/0/documents/journal/HBSJ_1989_JL01_007_Rosenberg_6779.pdf
  • Dart, Thurston. 1959. “Recorder ‘Gracings’ in 1700.” Galpin Society Journal 12: 93–94.
  • Davies, Malcolm. 1993. “The Marks and Rules for Gracing – Easy Baroque Ornamentation from English Sources.” Recorder Magazine, 13 (2): 39–41, (3): 69–71.
  • Davis, Alan. 1974. “Jacques Hotteterre and the French Style.” Recorder & Music 4 (9): 319–22.
  • Donington, Robert. 1989. The Interpretation of Early Music: New Version. London: Faber & Faber.
  • Donington, Robert. 1982. Baroque Music: Style and Performance. London: Faber Music.
  • Donington, Robert. (1989) 2012. “L’ornamentació barroca primerenca d’estil principalment melòdic” [Baroque Ornamentation, Mainly in the Melodic Style]. Translated by Joan Vives.
  • Emery, Walter. 1943. Bach’s Ornaments. Borough Green: Novello.
  • Eyck, Jacob van. 1656. Der fluyten lust-hof [The Flute Pleasure Garden]. Amsterdam: Paulus Matthysz. http://imslp.org/wiki/Der_Fluyten_Lust-Hof_(Eyck,_Jacob_van).
  • Fuller, David. 1979. “Mechanical Musical Instruments as a Source for the Study of ‘Notes Inégales.’” Bulletin of the Musical Box Society International, no. Summer.
  • Ganassi, Silvestro. 1959. Opera Intitulata Fontegara, Venice 1535. A Treatise on the Art of Playing the Recorder and of Free Ornamentation. Edited by Hildemarie Peter. Translated by Dorothy Swainson. Berlin-Lichterfelde: Robert Lienau.
  • Ganassi, Silvestro. 1535. Opera intitulata Fontegara. La quale i[n]segna a sonare de flauto cho[n] tutta l’arte opportuna a esso i[n]strumento massime il diminuire il quale sarà utile ad ogni i[n]strumento di fiato et chorde: et a[n]chora a chi si dileta di canto. [Work entitled “Fontegara”, which Instructs in Playing the Recorder with all the Proper Art of this Instrument, Especially the Creation of Diminutions that will be Useful for all Wind and String Instruments as well as those who Practice Singing]. Venice: Silvestro Ganassi. http://imslp.org/wiki/Opera_Intitulata_Fontegara_(Ganassi,_Sylvestro).
  • Ganassi, Silvestro. (1535) 1956. La Fontegara: Schule des kunstvollen Flötenspiels und Lehrbuch des Diminuierens, Venedig, 1535. Edited by Hildemarie Peter. Translated by Emilia Dahnk-Baroffio. Berlin-Lichterfelde: Robert Lienau.
  • Ganassi, Silvestro. (1535) 1959. Opera Intitulata Fontegara, Venice 1535. A Treatise on the Art of Playing the Recorder and of Free Ornamentation. Edited by Hildemarie Peter. Translated by Dorothy Swainson. Berlin-Lichterfelde: Robert Lienau.
  • Ganassi, Silvestro. (1535) 2002. Sylvestro Ganassi: Oeuvres complètes, volume 1, La Fontegara (1535). Edited by Christine Vossart. Translated by Jean-Philippe Navarre. Sprimont: Pierre Mardarga.
  • Haas, Eric. 1998. “The Grammar of Ornament: Ornamentation and Embellishment in the Late Baroque.” Boston, von Huene Workshop.
  • Habert, Andreas. 1987. “Wege durch die Division Flute: Zur Variationspraxis in der englischen Kunst- und Volksmusik des 17. Jahrhunderts [Ways Through The Division Flute: on Variation Practice in English Art and Folk Music of the Seventeenth Century].” Basler Jahrbuch für historische Musikpraxis 11: 89–138.
  • Horsley, Imogene. 1951. “Improvised Embellishment in the Performance of Renaissance Polyphonic Music.” Journal of the American Musicological Society 4 (1): 3–19. https://doi.org/10.2307/830116.
  • Hotteterre, Jacques. (1708) 1715. Pièces pour la flûte traversière et autres instruments, avec la basse continue. Livre Premier. Oeuvre Second [Pieces for the transverse flute and other instruments, with basso continuo. Book 1, Opus 2.]. 2nd ed. Paris: Jacques Hotteterre & Henri Foucault.
  • Hullfish, Wiliam R. 1978. “The Division Flute: An Introduction to Playing upon a Ground.” NACWPI Journal 27 (2): 4–23.
  • Hund-Davies, Malcolm. 1978–1979. “A Review of Historical Styles of Recorder Playing.” Recorder & Music, 6 (3): 66–68 (1978); (4): 98–100 (1978), (5): 133–35 (1979).
  • Hunt, Edgar H. 1989. “An Introduction to Baroque Ornamentation.” Recorder and Music Magazine, 9 (9): 246–49, (10); 281–82.
  • Lander, Nicholas S. 1996–2024. “Vibrato and Tremolo on the Recorder.” Recorder Home Page. https://www.recorderhomepage.net/technique/tremolo-and-vibrato/.
  • Lasocki, David R.G. 1999. “The Doubles in Jacques Hotteterre’s ‘Airs et Brunettes’ (ca. 1721).” Recorder Education Journal 5: 21–52. http://www.instantharmony.net/Music/Lasocki_Doubles_REJ_No5_1999.pdf.
  • Lasocki, David R.G. 1999. “Late Baroque Ornamentation: Philosophy and Guidelines.” Recorder Education Journal 5: 2–5.
  • Lasocki, David R.G. 1988. “Late Baroque Ornamentation: Philosophy and Guidelines.” American Recorder 29 (1): 7–10. http://www.instantharmony.net/Music/AR-feb-1988.pdf.
  • Lasocki, David R.G. 1978. “A New Look at Handel’s Recorder Sonatas: I. Ornamentation in the First Movement of the F Major Sonata.” Recorder & Music 6 (1): 2–9, 19.
  • Lasocki, David R.G. 1978. “A New Look at Handel’s Recorder Sonatas: II. The Autograph Manuscripts.” Recorder & Music 6 (3): 71–79.
  • Lasocki, David R.G. 1979. “A New Look at Handel’s Recorder Sonatas: III. The Roger and Walsh Prints: A New View.” Recorder & Music 6 (5): 130–32.
  • Lasocki, David R.G., and Eva Legêne. 1997. “Wie Man Lernt, Beim Verzieren von Händel-Sonaten Mit Dem Ohr Des Komponisten Zu Hören [Learning to Ornament Handel’s Sonatas through the Composer’s Ears.].” Tibia 22 (3): 488–503.
  • Lasocki, David R.G., and Eva Legêne. 1989. “Learning to Ornament Handel’s Sonatas through the Composer’s Ears. Part 1: Rhetoric, Variation, and Reworking. Part 2: Essential Graces, Free Ornamentation, and Contemporaneous Examples. Part 3: Conclusions.” American Recorder, 30 (1): 9–14; (2): 102–6, (4): 137–134. http://www.instantharmony.net/Music/american_recorder.php.
  • Lasocki, David R.G., and Betty B. Mather. 1978. The Classical Woodwind Cadenza: A Workbook. New York: MGinnis & Marx. http://www.instantharmony.net/Music/eb6.php.
  • Linde, Hans-Martin. 1958. Kleine Anleitung zum Verzieren Alter Musik [Brief Guide to Embellishing Early Music]. Mainz: Edition Schott 4758.
  • Lloyd-Watts, V., and C.L. Bigler. 1995. Ornamentation: A Question and Answer Manual. New York: Alfred Publishing Co.
  • 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).
  • Marvin, Bob. 1968. “Playing French Late Baroque Music on on the Recorder.” American Recorder 9 (2): 39–41.
  • Matharel, Philippe, and Michel Sanvoisin. 1997. The Art of Diminution in the XVIth and XVIIth Centuries. Vol. 1 (Recorder Solo). Paris: Gérard Billaudot.
  • Mather, Betty B. 1978. Interpretation of French Music from 1675 to 1775 for Woodwind and Other Performers; Additional Comments on German and Italian Music. New York: McGinnis & Marx.
  • Mather, Betty B. 1982. “Versuch einer Anleitung, Musik der Barockzeit stilgerecht auszuzieren [An attempt at a guide to decorate music of the baroque period in the right style].” Tibia, no. 2: 104–9. https://www.moeck.com/uploads/tx_moecktables/1982-2.pdf_S._104-109.pdf
  • Mather, Betty B. 1988. “Developing Baroque Ornamenation Skills.” American Recorder 29 (1): 4–6.
  • Mather, Betty B. 1981. “Making up Your Own Baroque Ornamentation.” American Recorder 22 (3): 55–59.
  • Mather, Betty B., and David Lasocki. 1976. Free Ornamentation for Woodwind Instruments, 1700-1775: An Anthology with Introduction. New York: McGinnis & Marx. http://www.instantharmony.net/Music/eb5.php.
  • McGrady, Richard. 1971. “Corelli’s Violin Sonatas and the Ornamentation of Handel’s Recorder Sonatas.” Recorder and Music Magazine 3 (10): 357–59.
  • Mezger, Marianne. 1995. “Vom Pleasant Companion zum Compleat Flute Master: Englische Blockflötenschulen des 17. und 18. Jh.” [From the Pleasant Companion to the Complete Flute Master: English Recorder Tutors of the Seventeenth and Eighteenth Centuries].” Tibia 20 (2): 417–31. http://www.moeck.com/uploads/tx_moecktables/1995-2.pdf.
  • Mezger, Marianne. 1994. “Performance Practice for Recorder Players.” Leading Notes: Journal of the National Early Music Association 7: 13–16.
  • Moens-Haenen, Greta. 2009. “Vibrato as Expressive Ornament: Translation of Summary Chapter from ‘Das Vibrato in Der Musik Des Barock’ (1988).” Translated by Frederick K. Gable. University of York, Department of Music. http://www.york.ac.uk/music/conferences/nema/haenen/.
  • Moens-Haenen, Greta. 1988. Das Vibrato in der Musik des Barock: ein Handbuch zur Aufführungspraxis fur Vokalisten und Instrumentalisten [Vibrato in the Music of the Baroque: a Handbook of Performance Practice for Sinngers and Instrumentalists]. Graz: Akademische Druck – u. Verlagsanstalt.
  • Moens-Haenen, Greta. 2001. “Vibrato.” In The New GROVE Dictionary of Music and Musicians Online, edited by Stanley J. Sadie. Basingstoke: Macmillan. http://www.oxfordmusiconline.com/public/book/omo_gmo.
  • Montgomery, David. 2003. “The Vibrato Thing.” http://douglasniedt.com/TechTipVibratoPart3TheVibratoThingByDavidMontgomery.pdf.
  • Murphy, Emma. 2006. “The Division Flute: Part One (1706)—300th Anniversary Year.” Recorder Magazine 36 (2): 60–62.
  • Neumann, Frederick. 1978. Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J.S. Bach. 3rd ed. Princeton: Princeton University Press.
  • Neumann, Frederick, and Jane R. Stevens. 1993. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer.
  • Oliveira  Titan, Dina Maria de. 2019a. “New Research Developments on Silvestro Ganassi’s Opera Intitulata Fontegara.” Windkanal … for English Readers. 2019. https://www.windkanal.de/dove-manca-la-natura-bisogna-l-arte-sia-maestra.
  • ———. 2019b. “Silvestro Ganassis Lehrwerk »Opera Intitulata Fontegara« [Silvestro Ganassi’s textbook].” Windkanal 2019 (2).
  • ———. 2019c. “The Origins of Instrumental Diminution in Renaissance Vencie: Ganassi’s Fontegara.” Ph.D. dissertation, Utrecht: Universiteit Utrecht. Utrecht University Repository in NARCIS. https://dspace.library.uu.nl/handle/1874/375222.
  • Peter, Hildemarie. 1958. The Recorder, Its Traditions and Its Tasks. Translated by Stanley Godman. Berlin-Lichterfelde: Robert Lienau.
  • Quantz, Johann J. 1752a. Essai d’une mé pour apprendre à jouer de la flûte traversiere [Essay on How to Play the Flute]. Berlin: Chrétien Frédéric Voss. https://archive.org/details/essaidunemthode00quangoog
  • Quantz, Johann J. 1752b. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Berlin: Chrétien Frédéric Voss. http://imslp.org/wiki/Versuch_einer_Anweisung_die_Flöte_traversiere_zu_spielen_(Quantz,_Johann_Joachim)
  • Quantz, Johann J. (1789) 1953. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Edited by Hans-Peter Schmitz. Domumenta musicologica 1. Reihe: Druckshcriften-Faksimiles, 2. Kassel: Bärenreiter.
  • Quantz, Johann J. (1752) 1975. Essai d’une mé pour apprendre à jouer de la flûte traversiere [Essay on How to Play the Flute]. 2nded. Paris: Editions Aug. Zurfluh.
  • Quantz, Johann J. (1752a) 1988. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Edited by Barthold Kuijken. Weisbaden: Breitkopf & Härtel.
  • Quantz, Johann J. (1752b) 1988. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Munich; Kassel: Deutscher Taschenbuch Verlag; Bärenreiter.
  • Quantz, Johann J. (1757) 2001. On Playing the Flute. Edited and translated by Edward R. Reilly. 2nd ed. Lebanon (NH): Northeastern University.
  • Rangel-Ribeiro, Victor. 1981. Baroque Music. A Practical Guide for the Performer. New York: Schirmer Books.
  • Roberts, Helen. 2020. Passaggi (version 1.0). Apple, Android. Frome, Sumerset: Septenary Editions. https://www.passaggi.co.uk/.
  • Rognoni, Riccardo. 1592. Passagi per potersi essercitae nel diminuire terminatamente con ogni sorte d’instrumenti et anco diversi passaggi per la semplice voce humana [Passages for Practice in Diminution and Several Similar Pieces for the Human Voice]. Venice: Giacomo Vincenti. http://imslp.org/wiki/Passaggi_per_potersi_essercitare_nel_diminuire_terminatamente_(Rognoni,_Riccardo)
  • Rognoni, Riccardo. (1592) 2002. Passagi per potersi essercitare nel diminuire (Venice, 1592). Edited and translated by Bruce Dickey. Bologna: Arnaldo Forni.
  • Roseman, Ronald. 1975. “Baroque Ornamentation.” Journal of The International Double Reed Society http://www.idrs.org/publications/controlled/Journal/JNL3/baroque.html.
  • Rowland-Jones, Anthony. 1992. “First Steps in Applying French Polish.” American Recorder 33 (3): 9–13.
  • Schalk Nagel, Rebecca. 1993. “Baroque Ornamentation: An Introduction.” Journal of the Internatonal Double Reed Society
  • Schneider, Michael. 1986. “Dekor oder Substanz?: Untersuchungen anhand der Sonate C-dur für Blockflöte und Bc von Francesco Barsanti [Decoration or Substance? Investigations into the Sonata in C major for Recorder and Basso Continuo by Francesco Barsanti].” Musica 40 (3): 239–44.
  • Segerman, Ephraim. 1995. “Communication 1316: Contrasts between String and Woodwind Gracing in Purcell’s Time.” FoMRHI Quarterly 78: 18–19. http://www.fomrhi.org/uploads/bulletins/Fomrhi-078.pdf.
  • Seibert, Peter. 1984. “Ornamentation for Consort Players: First Steps.” American Recorder 25 (4): 136–38.
  • Steger, Maurice. 2010. “Corellis Sonaten op. 5 in verzierten Fassungen des englischen Barock [Corelli’s Sonatas Op. 5 in an Ornamented Version from the English Baroque].” Windkanal, no. 3: 8–15. http://www.windkanal.de/images/stories/PDF/2010-3/Windkanal_2010-3_Schaetze-barocker-Verzierungskunst.pdf.
  • Tarasov, Nik. 2002. “Klangrede & Klang [Sounding Discourse and Sound].” Windkanal, no. 2: 6–9. http://www.windkanal.de/images/stories/PDF/2002-2/Windkanal_2002-02_S06-09.pdf.
  • Veilhan, Jean-Claude. 1979. The Rules of Musical Interpretation in the Baroque Era. Translated by John Lambert. Paris: Leduc.
  • Virgiliano, Aurelio. 1600. “Il dolcimelo d’Aurelio Virgiliano dove si contengono variati passaggi, e diminutioni cosi per voci, come per tutte sorte d’instrumenti musicale; con loro accordi, e modi di sonare [Aurelio Virgiliano’s Il dolcimelo, in which are found passaggi and diminutions either for voices or for all kinds of musical instruments; with their charts and methods of playing].” Bologna. Ms. C. 33. Civico Museo Bibliografico Musicale.
  • Waldo, Andrew. 1986. “So You Want to Blow the Audience Away? Sixteenth-Century Ornamentation: A Perspective on Goals and Techniques.” American Recorder 27 (2): 48–59.
  • Winters, Ross. 1992. “Historical Source Material.” Recorder Magazine 12 (3): 77–81.
  • Wollitz, Ken. 1966. “An Introduction to Baroque Ornamentation.” American Recorder 7 (1): 4–10.
  • Wollitz, Ken. 1982. The Recorder Book. New York: Alfred A. Knopf.

Improvisation

  • Alperson, Philip. 1984. “On Musical Improvisation.” Journal of Aesthetics and Art Criticism 43: 17–30.
  • Bailey, Derek. 1993. Improvisation: Its Nature and Practice in Music. British Library National Sound Archive.
  • Baratz, Lewis R. 1990. “Fifteenth-Century Improvisation, Take Two: Building a Vocabulary of Embellishments.” American Recorder 31 (2): 7–11.
  • Baratz, Lewis R. 1988. “Improvising on the Spagna Tune.” American Recorder 29 (4): 141–46.
  • Bixler, Martha. 1967–1978. “An Introduction to Renaissance Ornamentation.” American Recorder, 8(4): 107–9 & 9(4): 108–12.
  • Bree, Rob de. 2018. “Afraid to Improvise?” Recorder  Magazine 38 (2): 59–62.
  • Canguilhem, Philippe. 2011. “Singing upon the Book According to Vicente Lusitano.” Early Music History 30: 55–103. https://doi.org/10.1017/S0261127911000052.
  • ———. 2013. Chanter sur le livre a la Renaissance: les traites de contrepoint de Vicente Lusitano. Collection “Épitome musical.” Turnhout: Brepols.
  • ———. 2015a. “Improvisation as Concept and Musical Practice in the 15th Century.” In The Cambridge History of Fifteenth-Century Music, edited by Anna Maria Busse Berger and Jesse Rodin, 149–63. Cambridge: Cambridge University Press.
  • ———. 2015b. L’improvisation polyphonique à la Renaissance. Arts de la renaissance Européenne 5. Paris: Classiques Garnier.
  • Collins, Michael et al. 2001. “Improvisation: The Baroque Period.” In The New GROVE Dictionary of Music and Musicians, 2nd ed., 12:102–17.
  • Cumming, Julie E., and Peter Schubert. 2015. “The Origins of Pervasive Imitation.” In The Cambridge History of Fifteenth-Century Music, edited by Anna Maria Busse Berger and Jesse Rodin, 200–228. Cambridge: Cambridge University Press.
  • Cumming, Julie Emelyn. 2003. “Renaissance Improvisation and Musicology.” Music Theory Online 19 (2). http://www.mtosmt.org/issues/mto.13.19.2/mto.13.19.2.cumming.php.
  • Dalla Casa, Girolamo. 1584. Il Vero Modo di diminuir con tutte le sorti di stromenti di fiato, e corda, e di voce humana … [The Correct Way of Playing Divisions on All Types of Wind and Stringed Instruments, and With the Human Voice …]. 2 vols. Venice: Angelo Gardano. http://imslp.org/wiki/Il_vero_modo_di_diminuir_(Dalla_Casa,_Girolamo.
  • Dalla Casa, Girolamo. (1584) 1976. La vraie maniere de diminuer, avec toutes les sortes d’instruments, a vent, a cordes et a la voix humaine. Translated by Jaques Leguy and S. Leguy. Paris: Le Droit Chemin de Musique.
  • Dalla Casa, Girolamo. (1584) 1980. Il vero modo di diminuir, con tutte le sorti di stromenti [The correct way of playing divisions on all types of instruments]. Edited by Giusepe Vecchi. Bibliotheca Musica Bononiensis, Sezione 2, n. 23. Bologna: Arnaldo Forni.
  • Dalla Casa, Girolamo. (1584) 1989. “Il Vero Modo Di Diminuir [The Correct Way of Playing Divisions]: [To the Readers].” Translated by Jesse Rosenberg. Historic Brass Society Journal 1: 109–14. http://www.historicbrass.org/portals/0/documents/journal/HBSJ_1989_JL01_007_Rosenberg_6779.pdf
  • 983. Treble Recorder Technique. London: Novello.
  • Dongois, William. 2008. Apprendre à improviser avec la musique de la Renaissance. Lyon: Color & Talea.
  • Dongois, William. 2018. L’énigme Ganassi (HEM):  diminutions et proportions dans « la Fontegara » de Silvestro Ganassi, pratique ou spéculation ?  [The Ganassi enigma (HEM): Diminutions and proportions in Silvestro Ganassi’s “La Fontegara”, practice or speculation.]. YouTube. https://youtu.be/_8uzWwQfDc4.
  • Dongois, William, Lisselot Emery, and Christian Pointet. 2014. Semplice ou passeggiato : Diminution et ornementation dans l’exécution de la musique de Palestrina et du stile antico. Edited by William Dongois. Publications de la Haute école de musique de Genève. Geneva: Libraire Droz.
  • Erhardt, Martin. 2013. Upon a Ground: Improvisation on Ostinato Basses from the Sixteenth to the Eighteenth Centuries. A Hands-on Guide for Use in Class, in a Group or Alone. Translated from the German by Milo Machover. EW 905. Magdeburg: Edition Walhall. Includes 2 CDs.
  • ———. 2014. “Wie historisch kann ‘Historische Improvisation’ sein?  – Vier Stichproben aus Basso-ostinato-Stücken als Inspirationsquellen.” In Musiktheorie und Vermittlung, edited by Ralf Kubicek, 289–302. Paraphrasen – Weimarer Beiträge zur Musiktheorie 2. Hildesheim, Zurich & New York: Georg Olms.
  • Erhardt, Martin. 2014. “Wie historisch kann ‘Historische Improvisation’ sein? – Vier Stichproben aus Basso-ostinato-Stücken als Inspirationsquellen [How historical can ‘historical improvisation’ be? – Four examples from basso ostinato pieces as sources of inspiration].” In Musiktheorie und Vermittlung, edited by Ralf Kubicek, 289–302. Paraphrasen – Weimarer Beiträge zur Musiktheorie 2. Hildesheim, Zurich & New York: Georg Olms.
  • Erig, Richard, and Veronika Gutmann, eds. 1979. Italienische Diminutionen: Die zwischen 1553 und 1638 mehrmals bearbeiteten Sätze = Italian Diminutions: The Pieces with More Than One Diminution from 1553 to 1638. (Prattica musicale 1. Zürich: Amadeus Verlag.
  • Ganassi, Silvestro. 1535. Opera intitulata Fontegara. La quale i[n]segna a sonare de flauto cho[n] tutta l’arte opportuna a esso i[n]strumento massime il diminuire il quale sarà utile ad ogni i[n]strumento di fiato et chorde: et a[n]chora a chi si dileta di canto. [Work entitled “Fontegara”, which Instructs in Playing the Recorder with all the Proper Art of this Instrument, Especially the Creation of Diminutions that will be Useful for all Wind and String Instruments as well as those who Practice Singing]. Venice: Silvestro Ganassi. http://imslp.org/wiki/Opera_Intitulata_Fontegara_(Ganassi,_Sylvestro).
  • Fiorentino, Giiuseppe. 2009a. Música española del renacimiento entre tradición oral y transmisión escrita: el esquema de folía en procesos de composición e improvisación [Spanish Renaissance music between oral tradition and written transmission: the Folia scheme in compositional and improvisational practices.]. Granada: Universidad de Granada. https://hera.ugr.es/tesisugr/17804802.pdf.
  • ———. 2009b. “Relazioni musicali tra Italia e Spagna nella prima metà del XVI secolo: L’anomalia delle pavane ternarie [Musical relationships between Italy and Spain in the first half of the 16th century: the anomaly of the ternary pavane].” Studi Musicali 38 (2): 309–28.
  • ———. 2011. “Música española del renacimiento entre tradición oral y transmisión escrita: el esquema de Folía en procesos de composición e improvisación [Spanish Renaissance music between oral tradition and written transmission: the Folia scheme in compositional and improvisational practices.].” Revista de musicología 34 (1).
  • ———. 2015. “Cantar Por Uso’ and ‘Cantar Fabordón’: The ‘Unlearned’ Tradition of Oral Polyphony in Renaissance Spain (and Beyond.” Early Music 43 (1): 23–35. https://academic.oup.com/em/article-abstract/43/1/23/433790?redirectedFrom=fulltext.
  • ———. 3013. Folía. El origen de los esquemas armónicos entre tradición oral y transmisión escrita [Folia. The origin of harmonic schemes from ral tradition to written transmission]. Colección DeMusica 17. Kassel: Edition Reichenberger.
  • Galán-Gómez, Santiago. 2016. La teoría de canto de órgano y contrapunto en el Renacimiento español. La Sumula de canto de organo de Domingo Marcos Durán como modelo. Madrid: Editorial Alpuerto.
  • Ganassi, Silvestro. (1535) 1956. La Fontegara: Schule des kunstvollen Flötenspiels und Lehrbuch des Diminuierens, Venedig, 1535. Edited by Hildemarie Peter. Translated by Emilia Dahnk-Baroffio. Berlin-Lichterfelde: Robert Lienau.
  • Ganassi, Silvestro. (1535) 1959. Opera Intitulata Fontegara, Venice 1535. A Treatise on the Art of Playing the Recorder and of Free Ornamentation. Edited by Hildemarie Peter. Translated by Dorothy Swainson. Berlin-Lichterfelde: Robert Lienau.
  • Ganassi, Silvestro. (1535) 2002. Sylvestro Ganassi: Oeuvres complètes, volume 1, La Fontegara (1535). Edited by Christine Vossart. Translated by Jean-Philippe Navarre. Sprimont: Pierre Mardarga.
  • Habert, Andreas. 1987. “Wege durch die Division Flute: Zur Variationspraxis in der englischen Kunst- und Volksmusik des 17. Jahrhunderts [Ways Through The Division Flute: on Variation Practice in English Art and Folk Music of the Seventeenth Century].” Basler Jahrbuch für historische Musikpraxis 11: 89–138.
  • Horsley, Imogene. 1951. “Improvised Embellishment in the Performance of Renaissance Polyphonic Music.” Journal of the American Musicological Society 4 (1): 3–19. https://doi.org/10.2307/830116.
  • ———. 1957. “The Renaissance Attitude Toward Interpretation in Instrumental Performance.” Renaissance News 10 (2): 79–85. https://doi.org/10.2307/2857503.
  • ———. 1963. “The Diminutions in Composition and Theory of Composition.” Acta Musicologica 35 (2/3): 124–53. https://doi.org/10.2307/931501.
  • Hotteterre, Jacques  1719. L’art de Prèluder sur la Flûte Traversière, sur la Flûte à Bec, sur le Hautbois, et autres Instruments de Dessus. Œvre VIIe [The Art of Preluding on the flute, rccorder, oboe, and other soprano instruments …]. Paris: Author, Boivin & Foucault.
  • Hullfish, Wiliam R. 1978. “The Division Flute: An Introduction to Playing upon a Ground.” NACWPI Journal 27 (2): 4–23.
  • Lasocki, David R.G. 1988. “Late Baroque Ornamentation: Philosophy and Guidelines.” American Recorder 29 (1): 7–10. http://www.instantharmony.net/Music/AR-feb-1988.pdf.
  • Lasocki, David R.G. 1979. “Preluding on the Recorder in England in the Early 18th Century.” Recorder and Music 6 (7): 194–97. http://www.instantharmony.net/Music/R&M-9-1979.pdf.
  • Lasocki, David R.G. 2001. “Divisions on a Ground for the Recorder: A Bibliographic Essay.” Recorder Education Journal 7: 10–19. http://www.instantharmony.net/Music/REJ-7-2001.pdf.
  • Levine, Joel, and Pete Rose. 1965. “The Recorder Player’s Introduction to Jazz.” American Recorder 36 (3): 6–12.
  • Lewis, George, E., and Benjamin Piekut, eds. 2016. The Oxford Handbook of Critical Improvisation Studies. Vol. 1. New York: Oxford University Press.
  • Massimiliano, Guido. 2012. “Con La Mente e Con Le Mani: Teaching and Learning the Art of Counterpoint at the Keyboard (1585-1671).” Philomusica Online 11 (2). http://dx.doi.org/10.6092/1826-9001.11.1446.
  • ———, ed. 2017. Studies in Historical Improvisation from Cantare Super Librum to Partimenti. London: Routledge.
  • Maute, Matthias. 2005. Blockflöte und Improvisation: Formen und Stile durch die Jahrhunderte [Recorder and Improvisation: Form and Style Through the Centuries]. Wiesbaden: Breitkopf & Härtel.
  • Maute, Matthias. 1998. “Improvisation über einen Ground [Improvisation on a Ground].” Tibia 23 (2): v – vi (Die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/1998-2.pdf.
  • McGee, Timothy J. 2003. Improvisation in the Arts of the Middle Ages and the Renaissance. Early Drama, Art and Music Monograph Series 30. Kalamazoo, Michegan: Medieval Institute Publications & Western Michigan University.
  • Menke, Johannes, Peter Schubert, and Rob C. Wegman. 2014. Improvising Early Music. Edited by Dirck Moelants. Collected Writings of the Orpheus Institute. Leuven: Leuven University Press.
  • Morucci, Valerio. 2003. “Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Century.” Performance Practice Review 18 (1/3). https://www.academia.edu/7964273/Improvisation_in_Vocal_Contrapuntal_Pedagogy_An_Appraisal_of_Italian_Theoretical_Treatises_of_the_Sixteenth_and_Early_Seventeenth_Centuries_Performance_Practice_Review_2013.
  • Parrilla, Vicente. 2017. “Six Transcribed Improvisations on La Spagna.” Vicente Parrilla. 2017. https://vicenteparrilla.com/blog/spagna-improvisations.
  • ———. 2020. “Bibliography.” Historical Improvisation. 2020. https://historicalimprovisation.com/bibliography.
  • Parrilla, Vicente. 2020. “Renaissance Improvised Counterpoint on the Recorder. On Performing an Unwritten Repertoire.” Recorder  Magazine 40 (2): 49–52.
  • Parrilla, Vicente. 2021. “Fontegara: A Working Kit.” https://vicenteparrilla.com/blog/fontegara-working-kit.
  • Pasquale, Marco di. 2020. “Silvestro Ganassi: A Documented Biography.” Recercare 31/1-2 2019: 29-102. 31 (1-2 (2019)): 29–102.
  • Neumann, Frederick, and Jane R. Stevens. 1993. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer.
  • Oliveira  Titan, Dina Maria de. 2019a. “New Research Developments on Silvestro Ganassi’s Opera Intitulata Fontegara.” Windkanal … for English Readers. 2019. https://www.windkanal.de/dove-manca-la-natura-bisogna-l-arte-sia-maestra.
  • ———. 2019b. “Silvestro Ganassis Lehrwerk »Opera Intitulata Fontegara« [Silvestro Ganassi’s textbook].” Windkanal 2019 (2).
  • ———. 2019c. “The Origins of Instrumental Diminution in Renaissance Vencie: Ganassi’s Fontegara.” Ph.D. dissertation, Utrecht: Universiteit Utrecht. Utrecht University Repository in NARCIS. https://dspace.library.uu.nl/handle/1874/375222.
  • Reiss, Scott. 1997. “Blues, Jazz, Improvisation und die Blockflöte [Blues, Jazz, Improvisation, and the Recorder].” Tibia 22 (2): 408–19. http://www.moeck.com/uploads/tx_moecktables/1997-2.pdf.
  • Roberts, Helen. 2020. Passaggi (version 1.0). Apple, Android. Frome, Sumerset: Septenary Editions. https://www.passaggi.co.uk/.
  • Rognoni, Riccardo. 1592. Passagi per potersi essercitae nel diminuire terminatamente con ogni sorte d’instrumenti et anco diversi passaggi per la semplice voce humana [Passages for Practice in Diminution and Several Similar Pieces for the Human Voice]. Venice: Giacomo Vincenti. http://imslp.org/wiki/Passaggi_per_potersi_essercitare_nel_diminuire_terminatamente_(Rognoni,_Riccardo)
  • Rognoni, Riccardo. (1592) 2002. Passagi per potersi essercitare nel diminuire (Venice, 1592). Edited and translated by Bruce Dickey. Bologna: Arnaldo Forni.
  • Schubert, Peter. 2003. “Recombinant Melody: Ten Things to Love about Willaert’s Music.” Current Musicology 75: 91–113. https://doi.org/10.7916/D84J0DMT
  • ———. 2008. Modal Counterpoint: Renaissance Style. 2nd ed. New York: Oxford University Press.
  • ———. 2013. “My Undergraduate Skills-Intensive Counterpoint Learning Environment (MUSICLE).” Engaging Students: Essays in Music Pedagogy, Vol. 2. 2013. http://flipcamp.org/engagingstudents/schubert.html.
  • ———. 2014. “Teaching Music Analysis through Improvisation.” Engaging Students: Essays in Music Pedagogy, Vol. 2. 2014. http://flipcamp.org/engagingstudents2/essays/schubert.html.
  • Treitler, Leo. 2016. “Speaking of the I-Word.” In The Oxford Handbook of Critical Improvisation Studies, edited by George Lewis E. and Benjamin Piekut, 2:258–282.
  • Tyson, John. 1985. “Making Your Own Music.” Recorder Education Journal 8 (5): 151–53.
  • Waldo, Andrew. 1986. “So You Want to Blow the Audience Away? Sixteenth-Century Ornamentation: A Perspective on Goals and Techniques.” American Recorder 27 (2): 48–59.
  • Zimmermann, Manfredo. 2019. Die Ornamentik der Musik im Barock: Handbuch für das eigenständige Verzieren, mit Live-Begleitungen und Klangbeispielen [Ornamentation of Baroque Music: Manual for Free Decoration, with Live Accompaniments and Sound Examples]. 2nd ed. Ettlingen: Books on Demand.
  • Zimmermann, Manfredo. 2019. The Ornamentation of Baroque Music: A Guide to Learning How to Embellish. Ettlingen: Music-Ornaments. Translation from the German of the above. PDF version here.

Phrasing

  • Heyens, Gudrun. 2005. Advanced Recorder Technique – the Art of Playing the Recorder. Translated by Peter Bowman. Vol. 1: Finger and tongue technique. 2: Breathing and sound. London: Schott Music.
  • Hund-Davies, Malcolm. 1978–1979. “A Review of Historical Styles of Recorder Playing.” Recorder & Music, 6 (3): 66–68 (1978); (4): 98–100 (1978), (5): 133–35 (1979).
  • Keller, Hermann. 1973. Phrasing and Articulation: A Contribution to a Rhetoric of Music. Norton.
  • Neumann, Frederick, and Jane R. Stevens. 1993. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer.
  • Peterman, Lewis E. 1991. “Michel Blavet’s Breathing Marks: A Rare Source for Musical Phrasing in Eighteenth-Century France.” Performance Practice Review 4 (2): Article 4. http://scholarship.claremont.edu/ppr/vol4/iss2/4/.
  • Prior, Susan. 1990. Improve Your Consort Skills. American Recorder Society Chapter Information Packet 4. Littleton, CO: ARS Education Committee.
  • Ranum, Patricia M. 2001. The Harmonic Orator: The Phrasing and Rhetoric of the Melody in French Baroque Airs. Hillsdale: Pendragon.
  • Rowland-Jones, Anthony. 1992. “First Steps in Applying French Polish.” American Recorder 33 (3): 9–13.
  • Spiro, Neta. 2007. “What Contributes to the Perception of Musical Phrases in Western Classical Music?” Ph.D. dissertation, Amsterdam: Universiteit van Amsterdam, Institute for Logic, Language and Computation. http://www.illc.uva.nl/Research/Publications/Dissertations/DS-2007-02.text.pdf.
  • Vial, Stephanie D. 2008. The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical Period. Eastman Studies in Music. Rochester: University of Rochester Press.

Rhetoric, the Affections & Musical Metaphor

  • Bartel, Dietrich. 1997. Musica Poetica: Musical-Rhetorical Figures in German Baroque Music. Lincoln: University of Nebraska Press.
  • Bonds, Mark E. 1991. Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge: Harvard University Press.
  • Buelow, George J. 1983. “Johann Mattheson and the Invention of the Affekttenlehre.” In New Mattheson Studies, edited by George J. Buelow and Hans J. Marx, 393–407. Cambridge University Press.
  • Burmeister, Joachim. 2007. Musica poetica (1606), augmentée des plus excellentes remarques tirées de Hypomnematum musicae poeticae (1599) et de Musica autoschediastike (1601). Edited by Agathe Sueur and Pascal Dubreuil. Ars Musices Iuxta Consignationes Variorum Scriptorum A.M.I.C.V.S, Renaissance et période préclassique 1. Wavre: Editions Mardaga.
  • Burmeister, Joachim. 1606. Musica Poetica : Definitionibus Et Divisionibus Breviter Delineata, quibus in singulis capitibus sunt hypomnemata praeceptionum instar synoptikōs addita, edita studio & opera. Rostock: Stephanus Myliander. http://resolver.staatsbibliothek-berlin.de/SBB0000517D00000000.
  • Burmeister, Joachim. 1993. Musical Poetics [1606]. Translated by Benito V. Rivera. Music Theory Translation Series. Yale University Press.
  • Burton, Gideon O. 2007. “Musica Poetica.” http://www.musicapoetica.net/.
  • Burton, Gideon O. 2016. “The Forest of Rhetoric.” http://rhetoric.byu.edu/
  • Caccini, Giulio. 1601. Le nuove musiche. Florence: I. Mariscotti. http://imslp.org/wiki/Le_nuove_musiche_(Caccini,_Giulio).
  • Coomber, David. 1985. “Rhetoric and Affect in Baroque Music.” The Recorder: Journal of the Victorian Recorder Guild 3: 23–27.
  • Dikmans, Greg. 1991–2014. “Early Music and Historically Informed Performance Practice.” http://earlymusic.dikmans.net/.
  • Feldon, Frances. 1996. “The Rational Ear: Musica Poetica and Vibrato in France, 1675-1725.” D.M., Bloomington: Early Music Institute, School of Music, Indiana University.
  • Forchert, Arno, and Wolfram Steude. 1985–1986. “Musik und Rhetorik im Barock [Music and Rhetoric in the Baroque].” In Schütz Jahrbuch, 7-8:5–21. Kassel: Bärenreiter-Verlag.
  • Harnoncourt, Nikolaus. 1988. Baroque Music Today: Music as Speech: Ways to a New Understanding of Music. Edited by Reinhard G. Pauly. Translated by Mary O’Neill. Portland: Amadeus Press.
  • Haynes, Bruce. 2007. The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century. Oxford & New York: Oxford University Press.
  • Haynes, Bruce, and Geoffrey Burgess. 2016. The Pathetick Musician: Moving an Audience in the Age of Eloquence. Oxford; New York: Oxford University Press. https://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780199373734.001.0001/acprof-9780199373734
  • Heyens, Gudrun. 1992. “Über das ausdrucksvolle Spiel [About Expressive Playing].” In Internationales Blockflöten-Symposion: Vorträge und Dokumentation. Staatliche Hochschule für Musik Karlsruhe Schloß Gottesaue, 30. August bis 6. September 1992, 56–71.
  • Higginbottom, Edward. 1975. “Sonate, Que Me Veux-Tu? Classical French Music and the Theory of Imitation.” In French Music and the Fitzwilliam. Cambridge: Fitzwilliam Museum.
  • Hund-Davies, Malcolm. 1978–1979. “A Review of Historical Styles of Recorder Playing.” Recorder & Music, 6 (3): 66–68 (1978); (4): 98–100 (1978), (5): 133–35 (1979).
  • Keller, Hermann. 1973. Phrasing and Articulation: A Contribution to a Rhetoric of Music. Norton.
  • Lamy, P. Bernard. 1998. La Rhétorique ou L’art de parle [Rhetoric or The Art of Speaking] [1675-1715]. Edited by Benoît Timmermans. L’interrogations philosphique. Paris: Presses Universitaires de France. https://archive.org/details/larhetoriqueoul01lamygoog.
  • Lasocki, David R.G. 1978. “Quantz and the Passions: Theory and Practice.” Early Music 6 (4): 556–67.
  • Legêne, Eva. 1995. “Musical Interpretation and the Stirring of the Soul: The Relationship between Rhythm and Emotion in the Renaissance and Baroque.” Recorder Education Journal 2: 56–69.
  • Maute, Matthias. 2000. “Rhetorik in der Musik des Barock” [Rhetoric in Baroque Music].” Windkanal, no. 1: 6–11. http://www.windkanal.de/images/stories/PDF/2000-1/2000-1.pdf.
  • McClure, Theron. 1988. “Making the Music Speak: Silences D’articulation.” American Recorder 29 (2): 53–55.
  • Nastasi, Mirjam. 1977. “Rhetorik in der Musik: Dargestellt am Beispiel C. Ph. E. Bachs und seiner Sonata in a -moll für Flöte allein.” Tibia, 1: 213–20; 2: 281–87. http://www.moeck.com/en/tibia/tibia-early-issues/1976-1979.html.
  • Pickett, Philip. 1994. “J.S. Bach: The Brandenburg Concertos, a New Interpretation.” CD Liner Notes: Bach: Brandenburg Concertos BWV 1046-1051, New London Consort [Philip Pickett], Editions Decca/Oiseaux -Lyre (1995), ASIN: B000004CYB. http://members.iinet.net.au/~nickl/brandenburgs.html.
  • Ranum, Patricia M. 2001. The Harmonic Orator: The Phrasing and Rhetoric of the Melody in French Baroque Airs. Hillsdale: Pendragon.
  • Rifkin, Joshua, and Bernard D. Shermann. 1997. “‘Re-Inventing Wheels’: Joshua Rifkin on Interpretation and Rhetoric.” In Inside Early Music: Conversations with Performers. Chapter 20. New York: Oxford University Press. http://www.bsherman.net/rifkin.html.
  • Rüdiger, Wolfgang, and Eva Legêne. 1996. “‘ . . . kein geringes im Lande der Affecten’—das Triste aus Telemanns f-Moll-Sonate für Fagott und Generalbass’ [‘. . . no small thing in the realm of emotions’: The Triste from Telemann’s F-minor Sonata for Bassoon and Continuo].” Tibia 21 (1): i – viii (Die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/1996-1.pdf.
  • Tarling, Judy. 2017. “Are You Being Rhetorical Enough?” Recorder  Magazine 37 (1): 4–6.
  • Tarling, Judy. 2004. The Weapons of Rhetoric: A Guide for Musicians and Audiences. St Albans: Corda Music Publications.
  • Thieme, Ulrich. 1983. “Die Affektenlehre im philosophischen und musikalischen Denken des Barock. Teil II. Die Affekte und ihre Darstellungsmittel. Teil III. Die physikalische und physiologische Begründung der Affektenlehre [The Doctrine of Affections in the Philosophical and Musical Thinking of the Baroque. Part II. The Emotions and their Means of Representation. Part III. The Physical and Physiological Basis of the Doctrine of Affections].” Tibia, 7 (3): 161–68; 8 (1): 241–45; 8 (2): 325–34. http://www.moeck.com/uploads/tx_moecktables/1982-3.pdf.
  • Thieme, Ulrich. 1999. “Fantasie mit Phantasie: G. Ph. Telemanns 1. Fantasie für Travers- bzw. Blockflöte ohne Baß [Fantasia with Fantasy: G. Ph. Telemann’s First Fantasia for Flute (or Recorder) without Continuo].” Tibia 24 (1): xvii – xxiii (Die gelbe Seite). http://www.moeck.com/uploads/tx_moecktables/1999-1.pdf.
  • Villavicencio Grossmann, Cesar M. 2010. “Developing a Hybrid Contrabass Recorder; Resistances, Expression, Gestures and Rhetoric.” In Proceedings of the International Conference on New Interfaces for Musical Expression, 223–28. Sydney. http://www.nime.org/proceedings/2010/nime2010_223.pdf.
  • Wells, Peter G. 1999. “Affect and the Recorder: A Rhetorical Question?” Recorder Magazine 19 (3): 83–85.
  • Wilson, Blake, George J. Buelow, and Peter A. Hoyt. 2001. “Rhetoric and Music.” In The New GROVE Dictionary of Music and Musicians, edited by Stanley J. Sadie, 2nd ed., 21:260–75. Basingstoke: Macmillan.
  • Winters, Ross. 1992. “Historical Source Material.” Recorder Magazine 12 (3): 77–81.

Tempo, Rhythm & Rhythmic Adjustment

  • Babitz, Sol. 1968. “On the Need for Restoring Baroque Inequality.” American Recorder 9 (1): 7–8.
  • Babitz, Sol. 1952. “A Problem of Rhythm in Baroque Music.” Musical Quarterly 38: 533–65.
  • Babitz, Sol. 1967. “Concerning the Length of Time That Every Note Must Be Held.” Music Review 28: 21–37.
  • Babitz, Sol. 1974. “Rhythmic Freedom: A Historical Table in the Light of Wind Instrument Tonguing.” Early Music Laboratory Bulletin 11: entire issue.
  • Baines, Emily Joye. 2019. “The Ghost in the Machine: The Role of Mechanical Musical Instruments as Primary Sources for Eighteenth-Century Performance Practice in England, and an Examination of the Style(s) Contained Therein.” Ph.D. dissertation, London: Guildhall School of Music & Drama. https://openaccess.city.ac.uk/id/eprint/23095.
  • Barnett, Dene. 1978. “Non-Uniform Slurring in Eighteenth-Century Music: Accident of Design?” Haydn Yearbook 10: 179–99.
  • Blood, Brian. 2015. “Rhythmic Variety.” Music Theory Online. Accessed October 12. http://www.dolmetsch.com/musictheory20.htm.
  • Boyer, Margareth A. 1979. “Jacques Hotteterre’s ‘L’art de Préluder’: A Translation and Commentary.” Master of Music, Kansas City: Conservatory of Music, University of Missouri-Kansas City.
  • Clark, Paul. 1993. Tempo in Recorder Consort Music. London: Society of Recorder Players (SRP).
  • Davis, Alan. 1974. “Jacques Hotteterre and the French Style.” Recorder & Music 4 (9): 319–22.
  • DeFord, Ruth I. 1995. “Tempo Relationships between Duple and Triple Time in the Sixteenth Century.” Early Music History 14: 1–51.
  • Fuller, David. 1977. “Dotting, the ‘French Style’ and Frederick Neumann’s Counter-Reformation.” Early Muisc 5 (4): 517–43.
  • ———. 1979. “Mechanical Musical Instruments as a Source for the Study of ‘Notes Inégales.’” Bulletin of the Musical Box Society International, no. Summer.
  • ———. 1994. “Last Words on Inequality and Overdotting: A Review of Stephen Hefling’s Book.” Performance Practice Review 7 (2): 120–32. https://doi.org/10.5642/perfpr.199407.02.05.
  • Hefling, Stephen E. 1993. Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music: Notes Inégales and Overdotting. New York: Schirmer Books.
  • Hotteterre, Jacques  1719. L’art de Prèluder sur la Flûte Traversière, sur la Flûte à Bec, sur le Hautbois, et autres Instruments de Dessus. Œvre VIIe [The Art of Preluding on the flute, rccorder, oboe, and other soprano instruments …]. Paris: Author, Boivin & Foucault.
  • Houle, Gannon. 1965. “Tongueing and Rhythmic Patterns in Early Music.” American Recorder 6 (2): 4–13.
  • Houle, Gannon. 1987. Meter in Music 1600-1800: Performance, Perception, and Notation. Bloomington: Indiana University Press.
  • Hund-Davies, Malcolm. 1978–1979. “A Review of Historical Styles of Recorder Playing.” Recorder & Music, 6 (3): 66–68 (1978); (4): 98–100 (1978), (5): 133–35 (1979).
  • Jolibert, Bernard. 1985. “Les suites des XVIIe et XVIIIe siècles pour flûte à bec et leur interpretation musicale [Seventeenth- and Eighteenth-century Suites for Recorder and their Musical Interpretation].” Flûte à bec & instruments anciens 16: 22–26.
  • Legêne, Eva. 1995. “Musical Interpretation and the Stirring of the Soul: The Relationship between Rhythm and Emotion in the Renaissance and Baroque.” Recorder Education Journal 2: 56–69.
  • Mather, Betty B. 1978. Interpretation of French Music from 1675 to 1775 for Woodwind and Other Performers; Additional Comments on German and Italian Music. New York: McGinnis & Marx.
  • Mather, Betty B. 1987. Dance Rhythms of the French Baroque: A Handbook for Performance. Bloomington: Indiana University Press.
  • Mons, Josef. 2002. “Von Lully zu Ellington oder: Was hat die Inégalité mit der Jazzphrasierung gemein? [From Lully to Ellington; or, What Does Inequality Have in Common with Jazz Phrasing?].” Windkanal, no. 4: 6–11. http://www.windkanal.de/images/stories/PDF/2002-4/2002-4-6-11-Von-Lully-zu-Ellington.pdf.
  • Neumann, Frederick, and Jane R. Stevens. 1993. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer.
  • Newman, Joel. 1968. “Galliard Rhythms – a Study Outline.” American Recorder 9: 3: 76–79. http://www.americanrecorder.org/docs/AR_Mag_Summer_1968_Multipage.pdf.
  • Powell, Newman W. 1958. “Rhythmic Freedom in the Performance of French Music from 1650 to 1735.” Ph.D. dissertation, Stanford: Department of Music., Stanford University.
  • Ranum, Patricia M. 2001. “French Articulation: The Lessons of Thésée.” American Recorder 42 (1): 6–13.
  • Ranum, Patricia M. 1981. “A Glossary of French ‘Terms of Movement.’” The Ranum’s Panat Times. http://ranumspanat.com/glossary_intro.html.
  • Ranum, Patricia M. 1995. “Tu-Ru-Tu and Tu-Ru-Tu-Tu: Toward an Understanding of Hotteterre’s Tonguing Syllables.” In The Recorder in the Seventeenth Century, edited by David Lasocki, 217–54. Utrecht: STIMU Stichting Muziekhistorische Uitvoeringspraktijk (Foundation for Historical Performance Practice).
  • Rowland-Jones, Anthony. 1992. “First Steps in Applying French Polish.” American Recorder 33 (3): 9–13.
  • Rubingh, Menni. 2000. “Rhythm in Baroque Music.” http://www.rubinghscience.org/music/baroquerhythm1.html.
  • Thiemel, Matthias. 2001. “Accentuation.” In The New GROVE Dictionary of Music and Musicians, edited by Stanley J. Sadie, 2nd ed., 1:49. Basingstoke: Macmillan.
  • Van Gele, Geert. 2019. Thoughts on the Recorder. Borgerhout: InterCulturate. http://www.kattenbergrecordings.be/geertvangele/Thoughts.html.

Tuning & Temperament

  • Allain-Dupré, Philippe. 1983. “Lettre ouverte sur la justesse de la flûte à bec en 1983 [Open letter on the justness of the recorder in 1983].” Flûte à bec & instruments anciens 9: 9–12.
  • Bartlet, David. 1998. “The Mathematics of Tuning and Temperament with Audio Examples.” http://home.broadpark.no/~rbrekne/referhtml/musicmaths.html.
  • Bergmann, Walter. 1976. “Authenticity or Snobbery?” Recorder and Music 5 (8): 260.
  • Haynes, Bruce. 1991. “Beyond Temperament: Non-Keyboard Intonation in the 17th and 18th Centuries.” Early Music 19 (3): 357–81. http://music.indiana.edu/departments/academic/early-music/files/beyond-temperament-bruce-hayes.
  • Haynes, Bruce. 1986. “Communication 702: Temperamento per Commune Opinion Perfettisimo: 18th-Century Tuning for Singers and Orchestral Instruments.” FoMRHI Quarterly 43: 56–68. http://www.fomrhi.org/uploads/bulletins/Fomrhi-043.pdf.
  • Haynes, Bruce. 2007. “The Accommodating Recorder.” In Recorders Based on Historical Models. Fred Morgan – Writings and Memories, edited by Gisela Rothe. Fulda: Mollenhauer.
  • Jorgenson, Owen H. 1977. Tuning the Historical Temperaments by Ear. Marquette: Northen Michigan University Press.
  • Jorgenson, Owen H. 1991. Tuning: Containing the Perfection of Eighteenth-Century Temperament; the Lost Art of Nineteenth Century Temperament; and the Science of Equal Temperament., Complete with Instructions for Aural and Electronic Tuning. East Lansing: Michigan State University Press.
  • Kanter, Jason. 2015. “About Temperaments.” Rolling Ball. Accessed October 14. http://www.rollingball.com/images/HT.pdf.
  • Lindley, Mark. 1984. “Temperament.” In The New GROVE Dictionary of Music and Musicians, edited by Stanley J. Sadie, 3:540–55. London: Macmillan.
  • Lloyd, Llewellyn S., and Hugh Boyle. 1979. Intervals, Scales and Temperaments. 2nd ed. London: Macdonald & Co.
  • Medley, Daphne. 1992. “Tuning and Acoustics.” Recorder Magazine 12 (4): 99–101.
  • O’Brien, Emily. 2021. “Temperament and the Harmonic Series.” Recorder  Magazine 41 (2): 50–54.
  • Salas Machuca, Alonsa 1999. “Consideraciones sobre la aportación de la flauta dulce al establecimiento de la justa entonación [Considerations of the Contribution of the Recorder to the Establishment of Just Intonation].” Revista de flauta de pico 13: 22–31.
  • Wyatt, Theo. 1973. “A Question of Temperament.” Recorder and Music Magazine 4 (6): 192–93.

Cite this article as: Nicholas S. Lander. 1996–2024. Recorder Home Page: Interpretation. Last accessed 20 November 2024. https://recorderhomepage.net/interpretation/