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Historical Methods (Tutors) & Treatises

Compiled by Nicholas S. Lander

• Agricola, M. (1529). Musica instrumentalis deudsch ynn welcher begriffen ist, wie man nach dem gesange auff mancherley Pfeiffen lernen sol, Auch wie auff die Orgel, Harffen, Lauten, Geigen, und allerley Instrument und Seytenspiel, nach der rechtgegrüdten Tabelthur sey abzusetsen. [A German instrumental music, in which is contained: how to learn to play many kinds of wind instruments from vocal notation, and also how to set music into the appropriate tablature for the organ, harp, lute, fiddle, and all kinds of keyboard and string instruments.] George Rhau, Wittenberg.
  Facsimiles:
  • Agricola, M. Musica instrumentalis deudsch, erste und vierte Ausgable, Wittemberg 1528 und 1545. In neuer diplomatisch Genauer, zum Teil facsimilierter Ausgabe. Publikation alterer praktischer und theoretischer Musikwerke, Bd. 20. Breitkopf & Härtel, Leipzig (1896); Reprinted: Broude Brothers, New York (1966).
  • Agricola, M. Musica figuralis deudsch (1532). Im Anhang: Musica instrumentalis deudsch (1529); Musica choralis deudsch (1533); Rudimenta musices (1539). G. Olms, Hidesheim, New York (1969).
  Translations:
  • Hettrick, W.E. (1994.)
  • Holloway, W.E. (1972)
• Agricola, M. (1545). Musica instrumentalis deudsch, darin das Fundament und Application der Finger und Zungen, auff mancherley Pfeiffen als Flöten, Kromphörner, Zincken, Bomhard, Schalmeyen, Sackpfeiffen und Schweitzerpfeiffen etc. Darzu von dreierley Geigen, als welschen, polisschen und kleinen Handgeiglein und wie die Griffe drauff auch auff Lauten künstlich abgemessen werden, item vom Monochordo, auch von künstlicher Stimmung der Orgelpfeiffen und Zimbeln, etc. Kürtzlich begriffen, und fü unsere Schulkinder und andere gmeine Senger aufs verstendlicht und einfeltigst jtzund newlich zugericht. [A German instrumental music containing the basic rules and applicaion of the fingers and tongue on many kinds of wind instruments, such as recorders, crumhorns, cornetts, pommer, shawms, bagpipes, and Swiss flutes, etc. In addition, concerning three kinds of fiddles, the Italian, the Polish, and the little hand-fiddle, and how the finger positions may be skilfully gauged on them, and also on the lute. Also concerning the monochord and the skillful tuning of organ pipes and small bells, etc. Briefly summarized and now newly arranged for our school children and other beginning singers in the most understandable and simple way.] George Rhau, Wittenberg.
  Facsimiles:
  • Agricola, M. Musica instrumentalis deudsch, erste und vierte Ausgable, Wittemberg 1528 und 1545. In neuer diplomatisch Genauer, zum Teil facsimilierter Ausgabe. Publikation alterer praktischer und theoretischer Musikwerke, Bd. 20. Breitkopf & Härtel, Leipzig (1896); Reprinted: Broude Brothers, New York (1966).
  • Möhlmeier & Thouvenot (2002a).
  Translations:
  • Hettrick, W.E. (1994.)
• Anonymous (ca 1510). Manuscript, Universitätsbibliothek, Basel. [The first known treatise on the recorder is a manuscript booklet, now in the Universitätsbibliothek in Basel, probably written out for the 15-year-old Bonifacius Amerbach ca 1510 (Staehelin 1978; Kmetz 1988). The brief Introductio Gescriben uf Pfifen. includes a picture of a 'Discant' (soprano) recorder in G, with fingerings.]
  Facsimile
  • Möhlmeier & Thouvenot (2002a).
• Anonymous (1630 or 1680 or 1730). Tutto il bisognevole per sonar il flauto da 8 fori con pratica et orecchia. [Everything necessary for playing the recorder with skill and taste.] (MS, ?1630). Manuscript. Biblioteca Marciana, Venice, Mss Ital C.IV. No. 486.
• Baines, A. (1948). James Talbot's Manuscript (Christ Church Library Music Ms 1187). Galpin Society Journal 1: 9-26.
• B[anister], J. (1681). The Most Pleasant Companion, or Choice New Lessons for the Recorder or Flute, Being a New Collection of New Lessons, Set Forth by Dots and Notes. To Which is Added, Plain and Easie Rules and Instructions for Young Beginnners. Printed for John Hudgebutt, London.
• Bismantova, B. (MS, 1677, rev. 1694). Compendio musicale. In cui s'insegna à Prinipianti il vero modo, per imeperare con facilità, le Regole del Canto Figurato, e Canto Fermo; come anche per Comorre, e suonare il Basso Continouo, il Flauto, Cornetto, e Violino; come anche per Acordare Organi, e Cembali. [Musical compendium, in which is taught to beginners the true method to comand with ease the rules of figured song and plainsong, as well as to compose and play the basso continuo, recorder, cornett, and violin, and also the organ and harpsichord.] Manuscript. Biblioteca Municipale di Reggio Emilia, Ferrara, Ms Reggiani E. 41.
  Facsimile
  • Compendio musicale (Ferrara 1677). Archivum musicum, Collana di testi rare, 1. Ed. A. Cavicche. Studio per edizione scelte, Florence (1978.
  • Möhlmeier & Thouvenot (2002).
  Transcription
  • Cavicchi (1973).
  Translation
  • Dickey et al. (1978).
• Blankenburgh, G. (ca 1654, 2/ca 1655). Onderwyzinge hoemen alle de toonen en halve toonen, die meest gebruyckelyck zyn, op de handt-fluyt zal konnen t'eenemael zuyver blaezen, en hoe men op yeder 't gemackelyckst een trammelant zal konnen maken, heel dienstigh voor de lief-hebbers. [Instructions for how one can learn to play all the most usual tones and semitones on the recorder in tune, and how one can make a trill in the easiest way on each one -- very useful for music lvoers.] Paulus Matthysz, Amsterdam. The second edition was published ca 1655.
  Reprint
  • Onderwyzinge hoemen alle de toonen en halve toonen, die meest gebruyckelyck zyn, op de handt-fluyt zal konnen t'eenemael zuyver blaezen … Oscar, Munich (1871).
  • Onderwyzinge hoemen alle de toonen en halve toonen, die meest gebruyckelyck zyn, op de handt-fluyt zal konnen t'eenemael zuyver blaezen … Mieroprint Musikverlag, Münster (1989). With German translation and afterword.
  Translation
  • Onderwyzinge hoemen alle de toonen en halve toonen, die meest gebruyckelyck zyn, op de handt-fluyt zal konnen t'eenemael zuyver blaezen … Mieroprint Musikverlag, Münster (1989). With German translation and afterword.
• Bloodworth, D. (1985). The baroque-fingered recorder. Recorder & Music Magazine 8(5): 151-153.
• Blumenfeld, H. (1949, 2/1962), transl. The Syntagma musicum of Michael Praetorius. Volume Two: De Organographia, First and Second Parts. Bärenreiter, New York (1949). A second edition was published in 1962. Translation of Praetorius (1619). Includes a translation of the Theatrum Instrumentorum appendix.
• Boyer, M.A. (1979). Jacques Hotteterre's L'art de préluder: A Translation and Commentary. M.M. thesis, Conservatory of Music, University of Missouri-Kansas City.
• Bradford, A. (1973). The articulation of Hotteterre's Tu-Ru. American Recorder 14(3): 79-82.
• Brossard, S. (1703). Dictionnaire de la musique contenant une explication des Termes Grecs, Latins, Italiens, & François les plus usitez dans la Musique. Edn 2. Paris.
  Facsimile
  • Amsterdam (1954).
  • Möhlmeier & Thouvenot (2002).
• Brown, H.M. (1976). Embellishing Sixteenth-century Music. Oxford University Press, London.
• B., T. (1772). The Compleat Musick-Master: Being Plain, Easie, and Familiar Rules for Singing, and Playing on the Most Useful Instruments Now in Vogue, According to the Rudiments of Musick. Viz, Violin, Bass Viol, Flute, Treble-Viol, Haut-boy, Tenor Viol … . The Third Edition, with Additions. William Pearson, London.
• Bullard, B. (1987) Musical Instruments in the Early Sixteenth Century: A Translation and Historical Study of Sebastian Virdung's Music getutscht (Basel, 1511). Ph.D. dissertation, University of Pennsylvania. UMI order no. 87-25143.
• Bullard, B. (1993), transl. & ed. Musica getutscht: A Treatise on Musical Instruments (1511) by Sebastian Virdung. Cambridge University Press, Cambridge. ISBN: 3761800045.
• Cardano, J. De Musica [On Music.] (ca 1546). First published in Hieronymi Cardani Mediolensis opera omnia, Sponius, Lyons (1663).
  Translation:
  • Miller, A. (1973).
• Cardano, J. De Musica (MS, 1568, revised 1574). Vatican Ms 5850.
  Translation:
  • Miller, A. (1973).
• Carr, R. (1682, 2/1686). The Delightful Companion, or Choice New Lessons for the Recorder or Flute, to Which is Added, Several Lessons for Two and Three Flutes to Play Together. Also Plain and Easie Instructions for Beginners, and the Several Graces Proper to This Instrument. John Playford & John Carr, London. The first edition was announced in 1682.
  Facsimile
  • Möhlmeier & Thouvenot. (2002).
• Carse, A. (1940). Fingering the recorder. Music Review 1(2): 96-104.
• Castellani, M. (1977). The Regola per suonare il flauto italiano by Bartoleomeo Bismantova (1677). Galpin Society Journal 30: 76-85.
• Castellani, M. & E. Durante (1979). Del portar della lingua negli instrumenti di fiato. Per una corretta interpretazione delle sillabe articolatorie nella trattastica dei secc. XVI-XVIII. Archivum Musicum, Collana di studi, B. Studio per Edizioni Scelte, Florence.
• Cavicchi, A. (1973). Prassi strumentale in Emilia nell'ulimo quarto del seicento: Flauto italiano, cornetto, archi. [Instrumental practice in Emilia in the last quarter of the 17th century: recorder, cornett, strings.] Studi musicali 2 (1): 111-143. Transcription of Bismantova (1978) together with biographical information.
• Chapman, R.E. (1957). Harmonie universelle: The Books on Instruments. Martinus Nijhoff, The Hague. Partial translation of Mersenne (1636).
• Chew, G. (1984). Vibrato. In Sadie, S. (ed.), The New Grove Dictionary of Musical Instruments 3: 722-723.
• Cohen, A. (1965). Étienne Loulié as a music theorist. Journal of the American Musicological Society 18(1): 70-72.
• The Compleat Flute-Master, or The Whole Art of Playing on ye Rechorder … (1695). J. Hare & J. Walsh, London.
  Facsimile
  • Möhlmeier & Thouvenot (2002).
  • The Compleat Flute-Master or The Whole Art of Playing on ye Rechorder. A Facsimile of the 1695 First Edition with an Introduction and critical Commentary by Gerald Gifford, and Contributions by Jeanne Dolmetsch and Marianne Mezger. Hebden Bridge (2004.) Line-cut of the first edition, London, 1695, based on the exemplar owned by Arnold Dolmetsch, upon which he taught himself to play recorder. Detailed preface with explanation of all the ornaments.
• The Compleat Flute-Master Containing the Best and Easiest Rules to Learn that Favorite Instrument … (ca 1750). John Tyther, London.
• The Compleat Flute-Master Containing the Best and Easiest Rules to Learn that Favorite Instrument … (ca 1760). Thomas Bennett, London.
• The Compleat Instructor to the Flute The Second Book … (1700). J. Young, London.
• Compleat Instructions, for the Common Flute, Containing the Easiest and Most Modern Methods for Learners to Play, Carefully Corrected by Eminent Masters … (ca 1780). Longman & Broderip, London.
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• The Compleat Musick-Master. Edn 3. (1722).
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• The Compleat Tutor for the Flute. Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency … (ca 1745). John Johnson, London.
• The Compleat Tutor for the Flute. Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency … (ca 1746). John Simpson, London.
• The Compleat Tutor for the Flute. Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency … (1750). John Simpson, London.
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• The Compleat Tutor for the Flute Containing the Best and Easiest Instruction for Learners to Obtain a Proficiency … (1754). Peter Thompson, London.
• The Compleat Tutor for the Flute Containing the Best and Easiest Instruction for Learners to Obtain a Proficiency … (ca 1760). Thompson & Son, London.
• The Compleat Tutor for the Flute Containing the Best and Easiest Instruction for Learners to Obtain a Proficiency … (ca 1765). Chas. & Saml. Thompson, London.
• The Compleat Tutor for the Flute Containing the Best and Easiest Instruction for Learners to Obtain a Proficiency … (ca 1765). R. Bremner, London.
• Cooke, B. (ca 1735). Directions for Playing on the Flute …. Cooke, London.
• Corrette, Michel (ca 1740/?date). Méthode Raisonnée pour apprendre aisément à jouër de la Flûte Traversiere.
  Facsimile
  • ?Editor (?date). See FluteHistory.com
• Crookes, D.Z. (1986), transl. & ed. Syntagma Musicum, II: De Organographia, parts I and II. Clarendon Press, Oxford. Translation of Praetorius (1619).
• Dalla Casa, G. (1594). 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.
  Transcription
  • Vecchi, G. (1980).
  Translations
  • Leguy, J. & S. (1976).
  • Rosenberg (1989).
• Dart, T. (1952). Four Dutch recorder books. Galpin Society Journal 5: 57-60.
• Dart, T. (1959). Recorder 'Gracings' in 1700. Galpin Society Journal 12: 93-94.
• Davies, M. (1993). The marks and rules for gracing -- Easy baroque ornamentation from English sources. Recorder Magazine 13(2): 39-41, 13(3): 69-71.
• Davis, A. (1992). Playing baroque recorders with original fingering. Recorder Magazine 12(2): 47-50.
• Delius, Nikolaus (1976). Die erste Flötenschule des Barock? [The first recorder method of the Baroque?] Tibia 1(1): 5-12.
• Dickey, B. (1978). Untersuchungen zur historischen Auffassung des Vibratos auf Basinstrumenten. [An investigation of the historical use of vibrato on wind instruments.] Basler Jahrbuch für historische Musikpraxis 2: 77-142.
• Dickey, B. (2002). Rognoni, R., 'Passagi per potersi essercitae nel diminuire' (Venezia 1592). Translation & Preface. Bibliotheca Muscia Bononiensis, Sezione 2, n. 154. Arnaldo Forni, Bologna.
• Dickey, B. P. Leonards & E.H. Tarr (1978). The Discussion of wind instruments in Bartolomeo Bismantova's Compendio Musicale (1677): Translation and commentary = Die Abhandlung über die Basinstrumente in Bartolomeo Bismantovas Compendio Musicale (1677): Übersetzung und Kommentar. Basler Jahrbuch für historische Musikpraxis 2: 143-187.
• Diderot, D. & J. Le Rond d'Alembert (1765-1772). Encylopédie, ou dictionnaire raisonné es sciences, des arts et des métiers … [Encylopedia or analytical dictionary of the sciences, arts, and trades.] 17 vols. Briasson, Paris (vols 1-7); Faulche, Neufchâtel (vols 8-17).
• Diderot, D. & J. Le Rond d'Alembert (1765-1772). Recueil de planches, sur les sciences, les arts libéraux, et les arts méchaniues, avec leur explications. [Collection of plates on the sciences, liberal arts, and mechanical arts, with their explanations.] 11 vols. Briasson, Paris.
  Facsimile
  • Art du faiseur d'instruments de musique et lutherie. Extrait de l'Encylopédie méthodique "Arts et Métiers mécanqiues." Paris 1785. Minkoff Reprint, Geneva.
• Directions for Playing on the Flute with a Scale for Transposing any Piece of Musick to ye Properest Keys for that Instrument … . Benjamin Cooke, London (ca 1735).
• Donnington, R. (1974). The Interpretation of Early Music: New Version. Faber & Faber, London.
  • L'ornamentació barroca primerenca d'estil principalment melòdic. Translations in Catalan and Castillian of Chapter 9, by Joan Vives (Spain).
• Donington, R. (1982). Baroque Music: Style and Performance. Faber Music, London.
• Douglas, P.M. (1968), transl. & ed. Rudiments of the Flute, Recorder, & Oboe - 1720. Dover New York. Translation of Hotteterre (1720). Republished in 1983 under the title Principles of the Flute, Recorder & Oboe (Principes de la flûte).
• Douwes, C. (1699). Grondig ondersoek van de toonen der musijk. [A thorough examination of music.] Adriaan Heins, Franeker.
  Facsimile
  • Grondig ondersoek van de toonen der musijk. Ed. Peter Wiliams. Early music Theory in the Low Countries, 2. Frits Knuf, Amsterdam (1970).
• Ehlich, L. & J. Fielder (2003). "Introductio geschriben uf Pfifen": Eine Basler Quelle zum Blockflötenspied ca 1510. Glareana: Nachricten der Gesellschaft der Freunde alter Musikinstrumente 52 (2): 50.
• Eisel, J.P. (1738) Musicus autodidaktos: oder, Der sich selbst informirende Musicus, bestehend sowohl in Vocal-als üblicher Instrumental-musique. [The Musical Autodidact; or, The self-taught musician, for both vocal and common instrumental music.] Johann Michael Funcken, Erfurt.
  Facsimile
  • Musicus autodidaktos: oder, Der sich selbst informirende Musicus, bestehend sowohl in Vocal-als üblicher Instrumental-musique. Zentralantiquariat der Deutschen Demokratischen Republik, Leipzig (1976).
  • Möhlmeier & Thouvenot (2002).
• Emery, W. (1953). Bach's Ornaments. Novello, Borough Green.
• Encylopédie Méthodique (1788), Paris. [Also mentions the French flageolet.]
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• Feldon, F. (1996). The Rational Ear: Musica Poetica and Vibrato in France, 1675-1725. Ph.D. Thesis. Early Music Institute, School of Music, Indiana University.
• Feldon, F. (1997). Vibrato in the French Baroque. American Recorder 38(1): 12-13.
• The Fifth Book of the New Flute Master … (1706). J. Walsh & J. Hare, London.
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• The Flute-Master Compleat Improu'd … (1706). John Young, London.
• Form, M. (2002). Girolamo Cardano: De Musica. Windkanal 2: 10-11. [PDF format]
• Francoeur, L.-J. (1772). Diapason général de tous les instrumens à vent avec des observations sur chacun d'eux. Le Marchand, Paris. ["de la Petite flûte à bec, ou Flageolet, ou en Italien Flauto piccolo" … "Flute de Tambourin"].
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• Freillon-Poncein, J.-P. (1700). La véritable manière d'apprendre à jouer en perfection du hautbois, de la flûte et du flageolet, avec les principes de la musique pour la voix et pour toutes sortes d'instrumens. [The true way to learn to play with perfection the oboe, recorder, and flageolet, with the principles of music for the voice and all kinds of instruments.] Jacques Collombat, Paris.
  Facsimile
  • Freillon-Poncein, J.-P. (1700). La véritable manière d'apprendre à jouer en perfection du hautbois, de la flûte et du flageolet, avec les principes de la musique pour la voix et pour toutes sortes d'instrumens. Minkoff Reprint, Geneava (1972).
  • Möhlmeier & Thouvenot (2002).
  Transcription
  • Les 3 Méthodes de Flûte à Bec en France à l'Epoque Baroque. Ed. Laurence Pottier. Zurfluh, Paris (1996). This book contains the recorder sections of Hotteterre's and Freillon-Poncein's methods in facsimile, and the integral text of Loulié's method.
  Translations
  • Lasocki (1969).
  • Smith, C.P. (1969).
  • Smith, C.P. (1982). Partial translation.
  • Smith, C.P. (1992).
• Ganassi, S. (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.] Author: Venice.
  Facsimiles
  • Opera intitulata Fontegara, Venezia 1535. La Musica Moderna, Milan (1934).
  • Opera intitulata Fontegara. Bibliotheca musica bononiensis, sezione 2, no. 18. Forni, Bologna (1969).
  • Opera intitulata Fontegara. Prattica di musica, Ser. A, 3). Società italiana del flauto dolce (1991). Includes a commentary by Italian recorder maker Luca de Paolis.
  • Möhlmeier & Thouvenot (2002a).
  Translations
  • Peter, H. (1959).
  • Vives, J. (2000).
  • Vossarat, C. (2002)
• Garsault, F.-A.-P. de (1761) Notionaire, ou Mémorial Raisonnée de ce qu 'il y a d 'utile et d 'interessant. Guillaume Desprez, Paris. [Describest he recorder as "… now an instrument d'amusement for shepherds and farmers". Also mentions the French flageolet and the bird flageolet].
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• Gärtner, J. (1981). The Vibrato, With Particular Consideration Given to the Situation of the Flutist: Historical Development, New Physiological Discoveries, and Presentation of an Integrated Method of Instruction. English translation by Einar W. Anderson. Bosse, Regensburg.
• Ghelen, Jan van (1554, 2/1568). Dit is een zeer schoon Boecxken, om te leeren maken alderhande tabulatueren wten Discante. Daer duer men lichtelijck mach leeren spelen opt Clavecordium luyte ende Fluyte. [This is a nice little book for learning all kinds of tablatures except the discant, by means of which one can easily learn to oplay the organ, lute and recorder.] Jan van Ghelen, Amsterdam. A literal Flemisch translation of Vorsterman (1529). The second edition was published in 1568. Both versions have been published in joint facsimile by Frits Knuf, Amsterdam (1973).
• Gifford, G. (2004). Introducing a series of facsimile publications of materials from the Dolmetsch Library of Early Music, Haslemere. The Consort 60: 78-88.
• Goetz, F. (1982). Les articulations sur la flûte. [Articulation on the recorder.] Flûte à bec 5: 22-24.
• Greenburg, A. (1983). Articulation in recorder playing: A phonetic study. American Recorder 24(3): 99-101.
• Greeting, T. (1680) The Pleasant Companion: or New Lessons and Instructions for the Flagelet. Playford, London.
• Griscom, R. & D. Lasocki (1995). The Recorder: A Guide to Writings about the Instrument for Players and Researchers. Garland Publishing, Hamden.
• Gutman, V. (1980). Il Dolcimelo von Aurelio Virgiliano: Eine handschriftliche Quelle zur musikalischen Praxis um 1600. [Aurelio Virgiliano's Il dolcimelo: a manuscript source on performance practice ca 1600.] In Basler Studien zur Interpretation der alten Music: 107-139. Forum Musicologicum: Basler Beiträge zur Musikgeschicte, 2. Amadeus: Winterthur.
• Haynes, B. (1991). Beyond temperament: Non-keyboard intonation in the 17th and 18th centuries. Early Music 19(3): 357-381.
• Haynes, B. (1997). Das Fingervibrato (Flattement) auf Holzblasinstrumenten im 17, 18. und 19 Jahrhundert, Teil I. Tibia 2/97: 401-407.
• Haynes, B. (1997). Das Fingervibrato (Flattement) auf Holzblasinstrumenten im 17, 18. und 19 Jahrhundert, Teil II. Tibia 3/97: 481-487.
• Hettrick, W.E. (1979). Sebastian Virdung's method for recorders of 1511: A translation with commentary. American Recorder 20(3): 99-105.
• Hettrick, W.E. (1980-1983). Martin Agricola's poetic discussion of the recorder and other woodwind instruments. American Recorder 21(3): 103-13 (1980); 23(4): 139-46 (1982); 24(2): 51-60 (1983). Reprint in Recorder & Music Magazine 8 (4): 127-29 (1984); 8 (5): 139-48 (1985); 8 (6): 171-79 (1985); 8 (7):202-212 (1985).
• Hettrick, W.E. (1994.), transl. & ed. The 'Musica instrumentalis deudsch' of Martin Agricola; A Treatise on Musical Instruments, 1529 and 1545. Cambridge University Press, Cambridge.
• Higbee, D. (1962). A Plea for the Tenor Recorder by Thomas Stanesby Jr. Galpin Society Journal 15: 55-59.
• Higbee, D. (1962). Third-octave fingerings in eighteenth-century reocrder charts. Galpin Society Journal 15: 97-99.
• Holloway, W. (1972). Musica instrumentalis deudsch (Wittenberg, 1529). Trans. William Holloway (Ph.D. dissertaion, Texas State University. Translation of Agricola (1529).
• Hornick, A. (1978). Early eighteenth-century treatises on the recorder. American Recorder 19(2): 62-64.
• Horsley, I. (1960). Wind techniques in the sixteenth and early seventeenth centuries. Brass Quarterly 4: 49-63.
• 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. Christophe Ballard, Paris. Reprinted 1713, 1720, 1722, 1760.
  Facsimiles
  • Principes de la flûte traversière, ou flûte d'Allemagne, de la flûte à bec, ou flûte douce, et du haut-bois diviséz par traitéz. Amsterdam, Aux d'epens d'E. Roger (1728) [sic]. Bärenreiter, Kassel (1942). Reprinted 1973. Reissued on new plates in 1982 as part of the series Documenta musicologica. ISBN 3761800746. Facsimile of the 1710 edition. Includes a German translation and afterword by Hans Joachim Hellwig.
  • Principes de la flûte tranversière. Minkoff Reprint, Geneva (1973). ISBN 2826601067. Facsimile of the 1720 edition.
  • Möhlmeier & Thouvenot (2002).
  Transcription
  • Les 3 Méthodes de Flûte à Bec en France à l'Epoque Baroque. Ed. Laurence Pottier. Zurfluh, Paris (1996). This book contains the recorder sections of Hotteterre's and Freillon-Poncein's methods in facsimile, and the integral text of Loulié's method.
  Translations
  • Lasocki, D. (1968, 1983).
  • Douglas, P.M. (1968, 1989).
  • Hellwig (1973).
  • Vives (2002).
• Hotteterre, Jacques (1708, 2/1715). Pieces pour la flûte traversière et autres instruments, avec la basse continue. Livre Premier. Oeuvre Second. A second edition was published in 1715.
• Hotteterre, Jacques (1719). L'art de prèluder sur la flûte traversière, sur la flûte à bec, sur le hautbois, et autres instruments de dessus. Op. 7. [The Art of Preluding on the flute, rcorder, oboe, and other soprano instruments …] Author, Boivin & Foucault, Paris.
  Facsimile
  • L'art de prèluder sur la flûte traversière, sur la flûte à bec, sur le hautbois, et autres instruments de dessus. Minkoff Reprint, Geneva (1978). ISBN 2826606727.
  • Möhlmeier & Thouvenot (2002).
  Transcription
  • L'art de prèluder sur la flûte traversière, sur la flûte à bec, sur le hautbois, et autres instruments de dessus … Ed. Michel Sanvoisin. Zurfluh, Paris.
  Translation
  • Boyer, M.A. (1979).
  • Des coups de langue, Port de voix, Accents & doubles cadences. Translations in Catalan and Castillian by Joan Vives (Spain)
• Houle, G. (1965). Tongueing and rhythmic patterns in early music. American Recorder 6(2): 4-13.
• Hübner-Hinderling, R. (1991). Artikulation oder der Versuch, die Musik mit eder Sprache zu versöhnen -- nicht nur fü Blockflötisten. [Articulation, or the attempt to reconcile music and speech -- not only for recorders players.] Tibia 16(2): 421-424.
• Hudgebut, J. (1679). A Vade mecum for the Lovers of Musick, Shewing the Excellency of the Rechorder with some Notes and Directions for the Same. Also, some New Ayres Never Before Published. N. Thompson for John Hudgbut, London.
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• Hunt, E. (1965). L'epitome musical de Philibert Jambe de Fer (1556). Recorder & Music Magazine 1(8): 250.
• Hunt, E. (1979). Early recorder methods. Recorder & Music 6(6): 166-170.
• Hunt, E. (1986). Thoughts on Hoteterre's recorder fingerings. American Recorder 27(4): 151.
• Huygens, Christiaan (MS, 1686). Tons de ma flute. [My recorder's notes.] Manuscript. Universiteitsbibliotheek, Leiden. Codex Hugenianus 1: 231.
  Transcription
  • Œuvres complètes, Vol. 20: Musique et mathématique; Musique; Mathématiques de 1666 à 1695, 104. Martinus Nijhoff, The Hague (1940).
• Introductio gescriben uf pfifen. (ca 1510). Manuscript. Universitätsbibliothek, Basle.
• Jambe de Fer, Philbert (1556). Epitome musical des tons, sons et accordz, es voix humaines, fleustes d'Alleman, fleustes à neuf trous, violes, & violons. Michel du Bois, Lyons.
  Facsimiles
  • L'Epitome musical de Philibert Jambe de Fer (1556). Annales musicologiques 6: 341-346 (1963). Includes an introductory essay by François Lesure.
  • L'Epitome musical de Philibert Jambe de Fer (1556). Société de Musique d'Autrefois, Neuilly-sur-Seine (1964). Includes an introductory essay by François Lesure. Reproduced from the above.
  • Möhlmeier & Thouvenot (2002a).
  • Flute a Neuf Trous [PDF format]
• Kite-Powell, J.T. ed. (1994). A Performer's Guide to Renaissance Music. Schirmer, New York.
• Kmetz, J. (1988). Die Handschriften der Universitätsbibliothek Basel: Katalog der Musikhandschriften des 16. Jahrunderts. Universitätsbibliothek Basel, Basel. Pp. 322-4.
• Köhler, W. (1988). Die Blasinstrumente aus der "Harmonie Universelle" des Marin Mersenne: Übersetzung und Kommentar des "Livre cinquiesme des instruments a vent" aus dem "Traité des instruments". [The wind instruments from Marin Mersenne's Harmonie Universelle: translation of and commentary on the "Livre cinquiesme des instruments a vent" from the "Traité des instruments".
• Köhler, W. (1988). Die Blasinstrumente aus der Harmonie Universelle des Marin Mersenne und ihre Bedeutung für die Aufführungspraxis heute. [The wind instruments from Marin Mersenne's Harmonie Universelle and their significance for peformance practice today.] Tibia 13(1): 1-14.
• Laborde, J.B. de (1780). Essai sur la Musique ancienne at moderne. Paris. [Concerns the French flageolet.]
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• Lasocki, D. (1967). The tongueing syllables of the French baroque. American Recorder 8(3): 81-82.
• Lasocki, D. (1967). Diderot and the recorder. Recorder & Music Magazine 2(6): 190.
• Lasocki, D. (1968). A Spanish reocrder tutor. American Recorder 9(2): 49-50.
• Lasocki, D. (1968), transl. & ed. Principles of the Flute, Recorder & Oboe -- 1720. Barrie & Rockcliff / Cresset Press, London. Translation of Hotteterre (1707.
• Lasocki, D. (1968). A newly rediscovered recorder tutor. American Recorder 9(1): 18-19.
• Lasocki, D. (1969). Freillon-Poncein, Hotteterre, and the recorder. American Recorder 10(2): 40-43.
• Lasocki, D. (1970). The Compleat Flute-Master Reincarnated. American Recorder 11(3): 83-85.
• Lasocki, D. (1970). 17th and 18th century fingering charts for the recorder. American Recorder 11(4): 128-137.
• Lasocki, D. (1978). Quantz and the passions: Theory and practice. Early Music 6(4): 556-567. In Italian as 'Quantz e la teoria delle passioni: Gli effetti del clima estetico sulla prassi esecutiva nei secoli XVII e XVIII'. Syrinx: Bolletino ufficiale Accademia Italiana del Faluto 17: 30-34 (1993).
• Lasocki, D. (2000). The recorder in print: 1998. What has been written about the recorder in other publications around the world. American Recorder, May: 9-16, 30, 36-37.
• Lasocki, D. & B.B. Mather (1978). The Classical Woodwind Cadenza: A Wrokbook. McGinnis & Marx, New York.
• Leguy, J. & S. (1976). La vraie maniere de diminuer, avec toutes les sortes d'instruments, a vent, a cordes et a la voix humaine. French translation by Jacques & S. Leguy of Dalla Casa (1584). Le Droit Chemin de musique, Paris.
• Leonards, P.G. (1980). Artikulation auf Blasinstrumenten im 16. und 17. Jahrhundert: Ein Beitrag zur Spieltechnik der Basinstrumente vor dem geistesgeschichtlichen Hintergrund dieser Zeit. [Articulation on wind instruments in the 16th and 17th centuries: A contribution to the playing technique of wind instruments against the background of the history of ideas of this period.] Tibia 5(1): 1-9.
• Lesure, François (1955). Le Traité des instruments de musique de Pierre Trichet, les instruments à vent. [The treatise on musical instdruments by Pierre Trichet: the wind instruments. Annales musicologiques 3: 283-387.
• Linde, H.-M. (1975). The Recorder Player's Handbook. Schott/Belwin-Mills, New York.
• Linde, H.-M. (1992). Vom 'cantablen' Spiel auf der Blockflöte. [On 'cantabile' playing on the recorder.] Zeitschrift SAJM 20(2): 17-21.
• Loulié, É. (ca 1694 or 1701/2). Méthode pour apprendre à jouer de la flûte douce. [Method for learning to play the recorder.] Manuscript. Bibliothèque Nationale (fonds fr. n.a. 5355, XIX-XX), Paris.
  Facsimile
  • Möhlmeier & Thouvenot (2002).
  Transcriptions
  • Méthode pour apprendre à jouer de la flûte douce. Ed. Nicolas Stroesser. Les Cahiers du Tourdion, Strasbourg (1994).
  • Les 3 Méthodes de Flûte à Bec en France à l'Epoque Baroque. Ed. Laurence Pottier. Zurfluh, Paris (1996). This book contains the recorder sections of Hotteterre's and Freillon-Poncein's methods in facsimile, and the integral text of Loulié's method.
  Translations
  • Semmens (1981). Partial translation.
  • Semmens (1983). Complete translation.
• Luscinius, Othmar (1536, 2/1542). Musurgia seu praxis musicae: illius primo quae instrumentis agitur certa ratio.. [Musurgia, or The practice of music: a sure method of music which deals first with instruments.] Joannem Schottum, Strasbourg. The second edition was published in 1542. Loosely based on Virdung (1511).
• Majer, J.F.B.C. (1732, 2/1741). Museum musicum theoretico practicum, das ist, Neuroeffneter theoretisch-und practischer Music-Saal … [Thoretical and practical musical museum; that is, Newly disclosed theoretical and practical music room.] Georg Michael Majer, Nuremberg. The second edition was pubished by Johann Jacob Cremer, Nuremberg (1741).
  Facsimile
  • Museum musicum theoretico practicum, das ist, Neuroeffneter theoretisch-und practischer Music-Saal … Ed. Heinz Becker. Bärenreiter, Kassel (1954). Facsimile of first edition.
  • Museum musicum theoretico practicum, das ist, Neuroeffneter theoretisch-und practishcer Music-Saal (Nuremberg, 1741). Ed. Eitelfriedrich Thom. Kulture- und Forschungstätte Michaelstein, Blankenburg/Michaelstein (undated).
  • Möhlmeier & Thouvenot (2002).
  Translations
  • Newman (1962).
• Mattheson, J. (1713). Das Neu-Eröffnete Orchester.
• Mather, B.B. (1978). The Interpretation of French Music from 1675 to 1775 for Woodwind and Other Performers. McGinnis & Marx, New York.
• Mather, B.B. (1988). Developing baroque ornamenation skills. American Recorder 29(1): 4-6.
• Mather, B.B. & D. Lasocki (1976). Free Ornamentation for Woodwind Instruments, 1700-1775: An Anthology with Introduction. McGinnis & Marx, New York.
• M[atthysz], P. (ca 1649). Vertoninge en onderwyzinge op de hand-fluit. [(Fingering) depictions and instructions for the recorder.] Paulus Matthysz: Amsterdam.
• Mersenne, M. (1636). Harmonie universelle, contenant la théorie et la pratique de la musique, où il est traité de la nature des sons, et des mouvemens, des consonances, des dissonances, des generes, des modes, de la composition, de la voix, des chants, et de toutes sortes d'instruments harmoniques. [Universal harmony, contaning the theory and practice of music, in which is treated the nature of sounds as well as tempos, consonances, dissonances, genres, modes, composition, the voice, songs, and all kinds of musical instruments.] Sébastien Cramoisy.
  Facsimiles
  • Harmonie universelle, condenant la théorie et la pratique de la musique. Édition facsimilé de l'exemplaire conservé à Bibliothèque des arts et métiers et annoté par l'auteur. Centre National de la Rechereche Scientifique (1963). 3 vols. With an introduction by Fraçois Lesure.
  • Proposition VIII [PDF format]
  Translations
  • Chapman, R.E. (1957). Partial translation.
  • Köhler, W. (1988). Partial translation.
  • Möhlmeier & Thouvenot (2002).
• Meyer, C. (1980). Sebastian Virduung Musica getutscht: les instruments et al pratique musicale en Allemagne au début du Xve siècle. [Sebatian Virdung's Musica Getutscht: instruments and musical practice in Germany at the beginning of the 16th century.] Èditions du Centre National de la Recherche Scientifique. ISBN 2222026954. Includes a complete French translation.
• Miller, C.A. (1971). Jerome Cardan on the recorder. American Recorder 12 (4): 123-125.
• Miller, C.A. (1973). Writings on Music. Musicological Studies & Documents, 32. American Institute of Musicology, Rome (1973). Translation of Cardan (ca 1546/1663, 1568, 1574, etc.)
• Minguet y Yrol, P. (1752-1774). Reglas, y advertencias generales que enseñan el modo de tañer todos los instrumentos mejores, ye mas usuales … [Rules and general advice that teachers the method of playing all the best and most common instruments.] Part IV is entitled: Reglas y advertencias generales para tañer la flauta traversera, la flauto dulce, y la flautilla, con varios tañer demonstradas, y figuradas en diferentes laminas finas, por musica, y cifra, para que qualquier aficionado las pueda comprehender con mucha facilidas, y sin maestro … . [Rules and general advice for playing the flute, recorder, and pipe, with various descriptions fingering charts, and fine illustrations, for music and its ntoation, so that any amateur can understand it easily and without a teacher.] Joachim Ibarra, Madrid.
  Facsimile
  • Reglas, y advertencias generales que enseñan el modo de tañer todos los instrumentos mejores … Minkoff Reprint, Geneva. ISBN 2826607030.
• Moens-Haenen, G. (1988). Das Vibrato in der Musik des Barock. [Vibrato in the music of the Baroque.] Akademische Druck - u. Verlagsanstalt, Graz.
• Möhlmeier, S. & F. Thouvenot (2002), ed. Méthodes & Traités, Collection dirigée par Jean Saint-Arroman, Série III, Europe, Flûte à Bec. Vol. 1: Agricola, Anonyme, Ganassi, Jambe de Fer, Mersenne, Praetorius, Trichet, Virdung, Virgiliano. Editions J.M. Fuzeau, Curlay. ISMN: 2306 5909 6.
• Möhlmeier, S. & F. Thouvenot (2002), ed. Méthodes & Traités, Collection dirigée par Jean Saint-Arroman, Série III, Europe, Flûte à Bec. Vol. 2: Anonyme, Bismantova, Carr, Hudgebut, Loulié, Salter, Van Eyck. Editions J.M. Fuzeau, Curlay. ISMN: 2306 5910 2.
• Möhlmeier, S. & F. Thouvenot (2002), ed. Méthodes & Traités, Collection dirigée par Jean Saint-Arroman, Série III, Europe, Flûte à Bec. Vol. 3: Anonymes, Brossard, Eisel, Encylopédie méthodique, Eisel, Francoeur, Freillon-Poncein, Garsault, Hotteterre-le-Romain, Laborde, Majer, Prelleur, Schickardt, Tas'ur, Weigel. Editions J.M. Fuzeau, Curlay. ISMN: 2306 5811 9.
• Möhlmeier, S. & F. Thouvenot, ed. (2006). Méthodes & Traités, Collection dirigée par Jean Saint-Arroman, Série III, Europe, Flûte à Bec. Vol. 4: Anonymes, Bonanni, Douwes, Freillon-Poncein, Hotteterre le Romain, Hawkins, Minguet y Yrol, Sadler, Stanesby, Tans'Ur, Verschuere Reijnvaen, Walther, Wright. Editions J.M. Fuzeau, Curlay.
• Mosand, J. (1983). Ein wenig bekanntes Buch über Musik und Instrumentenspiel: Johann Daniel Berlin, Musicaliske Elementer, 1744. [A little-known book about music and instrumental playing: Johann Daniel Berlin's Musicaliske Elementer (The elements of music), 1744.] Tibia 8(1): 276-279.
• The Muses Delight. An Accurate Collection of English and Italian Songs, Cantatas and Duetts, set to Music for the Harpsichord, Violin, German-Flute, &c With Instructions for the Voice, Violin, Harpsichord or Spinnet, German-Flute, Common-Flute, Hautboy, French-Horn, Bassoon and Bass Violin … (1754). John Sadler, Liverpool. Editions 1756, 1757, and 1758 entitled Apollo's Cabinet: or the Muses Delight …
• Myers, H.W. (1966). Three seventeenth-century English recorder tutors. American Recorder 7(2): 3-6.
• Neumann, F. (1978). Ornamentation in Baroque and Post-Baroque Music, With Special Emphasis on J.S. Bach. Princeton University Press, Princeton.
• Neumann, F. & J. Stevens (1993). Performance Practices of the Seventeenth and Eighteenth Centuries. Schirmer, New York.
• The New Flute Master for the Year 1729 Containing the Most Compleat Rules & Directions for Learners on ye Flute (1728). J. Walsh & Joseph Hare, London.
• Newman, J. (1962). The recorder in Majer's Museum Musicum 1732. American Recorder 3(1): 6-8. Includes a translation (with commentary) of the section on the recorder.
• Newman, J. (1963). A commentary on the Directions for Playing on the Flute (c. 1731). American Recorder 4(1): 3-4; 4(2): 3-4.
• Newman, J. (1963). Stützfingering un-butressed. American Recorder 4(2): 14-15.
• Peter, H. (1955). An introduction to Ganassi's Treatise on the recorder (1535). The Consort 12: 18-23.
• Peter, H. (1953, 1958). Die Blockflöte und ihre Spielweise in Vergangenheit und Gegenwart, Lienau, Berlin-Lichterfelde (1953). English edition, transl. S. Godman as The Recorder: Its Traditions and Tasks, Lienau-Heinrichsen, Berlin-Lichterfelde (1958).
• Peter, H. (1956). La Fontegara: Schule des kunstvollen Flötenspiels und Lehrbuch des Diminuierens, Venedig, 1535. Robert Lienau, Berlin-Lichterfelde. Translation of Ganassi (1535) by Emilia Dahnk-Baroffio and Hildemarie Peter. English edition, transl. (from the German) by Dorothy Swainson, Lienau-Heinrichsen, Berlin-Lichterfelde (1959).
• Praetorius, M. (1619). Syntagma musicum ex veterum & recentiorum ecclesiasticorum authorum lectione, polyhistorum consignatione, variarum linguarum notatione, hodierne seculi usurpatione, ipsius denique musicæ artis obsrvatione: in cantorum, organistarum, organœoporum, cæterorumque; musiciam scientiam amantium & tranctantium gratiam collectum; et secundum hunc generalem indicem toti operi præfixum, in quatuor tomos distributum, à Michaele Praetorio Creutzbergensi … Tomus secundus: De Organographia. [A musical treatise gathered from a reading of old and new ecclesiastical authors, from the teaching of learned men, from writings in various languages, from modern usage, and finally from observation of the art of music itself: for the benefit of signers, instrumentalists, instrument makers, and others who love and deal with the science of music; arranged in four volumes according to this general index prefixed to the whole work by Michael Praetorius of Kreuzburg … Volume Two: On musical instruments.] Elias Holwein, Wolfenbüttel.
  Facsimiles
  • Syntagma musicum. Band II: De Organographia, Wolfenbüttel 1619. Faksimile-Nachdruck herausgegeen von Wilibald Gurlitt. Documenta Musicologica. Erste Reihe: Druckshriften-Faksimiles, 14. Bärenreiter, Kassel (1958).
  • Möhlmeier & Thouvenot (2002a).
  Translations
  • Blumenfeld (1949, 1962, 1980).
  • Crookes (1986).
• Prelleur, P. (1730). The Modern Musick-Master or The Universal Musician Printing Office in Bow Church Yard, London.
  A series of seven methods, Part II of which is entitled: Directions for Playing on the Flute with a Scale for Transposing Any Piece of Musick to ye Properest Keys for that Instrument …
  Facsimiles
  • Instructions & Tunes for the Treble Recorder from The Modern Musick-Master, ca 1731. Ed. Edgar Hunt. Schott, London (1960).
  • The Modern Music-Master, or, The Universal Musician, 1731. Ed. Alexander Hyatt King. Documenta Musicologica. Erste Reihe: Druschriften-Faksimiles, 27. Bärenreiter, Kassel (1965). The recorder method is also published separately as Directions for Playing on the Flute.
  • Möhlmeier & Thouvenot (2002).
• Quantz, J.J. (1752, 3/1789). Versuch einer Anweisung die Flöte tranversiere zu spielen. [Essay of a method for playing the flute.] Voss, Berlin.
  Facsimiles
  • Versuch einer Anweisung die Flöte tranversiere zu spielen. Breitkopf & Härtel, Wiesbaden (1988). Introduction (in German) by Barthold Kuikjken. Facsimile of first edition.
  • Versuch einer Anweisung die Flöte tranversiere zu spielen. Facisimile of first edition. Bärenreiter, Kassel (1992).
  • Versuch einer Anweisung die Flöte tranversiere zu spielen. Edited by Hans-Peter Schmitz. Domumenta musicologica 1. Reihe: Druckshcriften-Faksimiles, 2. Bärenreiter, Kassel (1953). Facsimile of third edition.
  Translations
  • Voss (1752).
  • Reilly, E.R. (1966, 1985).
• Ranum, P.M. (1988-1990). Étienne Loulié (1654-1702): Musicien de Mademoiselle de Guise, pédagogue et théoricien. [Étienne Loulié (1654-1702): Musician to Mademoiselle de Guise, pedagogue and theorist.] Recherches sur la musique française classique 25: 27-76 (1987); 26: 5-49 (1988-1990).
• Ranum, P.M. (1991). Étienne Loulié: Recorder player, Teacher, Musicologist. American Recorder 32(1): 7-11, 34.
• Ranum, P.M. (1992). A fresh look at French wind articulations. American Recorder 33(4): 9-16, 39.
• Ranum, P.M. (1999). "veddy", 'tu' and 'ru'. URL: http://ourworld.compuserve.com/homepages/PRanum/Page10.html
• Rawski, C. (1957). Flute, Recorder, and Oboe Before 1800: A Selected Bibliography. M.S. thesis, Library Science, Western Reserve University.
• Reilly, E.R. (1958). Quantz's Versuch einer Anweisung die Flöte traversiere zu spielen: A Translation and Study. 2 vols. Ph.D. dissertation, University of Michigan.
• Rees, M. (2002). An introduction to the Grundy Book with a look at a few early recorder tutors. The Consort 58: 54-66 & 99.
• Reilly, E.R. ((1752/1966, 1976, 1985, 2001), transl. & ed. On Playing the Flute. Faber & Faber, London; Schirmer Books, New York; Northeastern University Press. Translation of Quantz (1752).
• Reilly, E.R. (1966). Quantz and the recorder. American Recorder 7(4): 7-9.
• Reilly, E.R. (1971). Quantz and his Versuch: Three Studies. Galaxy Music Corporation for the American Musicological Society, New York.
• Reiss, S. (1986). Articulation; The key to expressive playing. American Recorder 27(4): 144-149.
• Reynvaan, J.V. (1795). Muzijkaal kunst-woordenboek … [Dictionary of the art of music.] Wouter Braue, Amsterdam. Covers A-M only, but the article "Flauta Bocca (Italiaansch)" concerts the recorder.
• Rily, M.W. (1958). A tentative bibliography of early wind tutors. Journal of Research in Music Education 6: 3-24.
• Rognoni, R. (1592). Passagi per potersi essercitae nel diminuire. Venice.
  Translation
  • Dickey (2002).
• Rosenberg, J. (1989), trans. Il vero modo di diminuir. Historic Brass Society Journal 1: 109-14. English translation of dalla Casa (1584).
• Rowland-Jones, A. (1988). A slur on slurring? A problem in recorder playing. NEMA Journal 9: 1-6.
• Rowland-Jones, A. (1992). Playing Recorder Sonatas: Interpretation and Technique. Clarendon Press, Oxford. ISBN 0198790023.
• Rowland-Jones, A. (1993). Recorder slurring. American Recorder 34(2): 9-15; 34(4): 6-11; 35(1): 7-12.
• Rowland-Jones, A. (1993). Putting the clock back. The Recorder: Austalia's Journal of Recorder & Early Music 17: 12.
• Rowland-Jones, A. (1995). A short history of partial venting. Recorder Magazine 15(2): 48-50.
• Rutherford, D. (ca 1760). The Compleat Tutor for ye Flute Containing the Best and Newest Instructions for that Instrument. Dad. Rutherford, London.
• Salter, H. (1683). The General Companion: being Exact Directions for the Recorder: With a Collection of the Best and Newest Tunes and Grounds Extant. Printed for Richard Hunt & Humphry Salter, London.
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• Scharenberg, S. (1993). Sebastian Virdungs Musica getutscht: ein Sachbuch? Der Traktat von 1511 neu gelesen. [Sebastian Virdung's Musica getutscht -- a practical book? The treatise of 1511 read anew.] Tibia 18 (2): 421-30.
• Schickhardt, J.C. (ca 1710-1715). Principes de la flûte contenant la maniere d'en joüer & la connoissance de musique necessaire pour cela / Avec quarante deux airs à 2 flûtes, Op. 12. Principles of the recorder, containing the way of playing it and the knowledge of music necessary for that / with 42 airs for two recorders.] Estienne Roger, Amsterdam.
  Facsimile
  • Principes de la flûte … Essercizi di musica, 3. La Stravaganza, Rome. With a preface by Marco di Pasquale.
  • Möhlmeier & Thouvenot (2002).
• The Second Book of the Flute Master Improv'd Containing the Plainest Instructions for Learners, with Variety of Easy Lessons by the Best Masters (ca 1730). D. Wright Jr.
• Schmidt, L.J. (1959). A Practical and Historical Source-Book for the Recorder. Ph.D. dissertation, Northwestern University. University Microfilms International, Ann Arbor, Michigan (UMI order number 59-04837).
• Semmens, R. (1981). Étienne Loulié's 'Method of learning how to play the recorder.' Studies in Music from the University of Ontario 6: 7-23.
• Semmens, R. (1983). A translation of Étienne Loulié's Method of learning how to play the recorder. American Recorder 24(4): 135-145.
• Simpson, A. (1966). A short-title list of printed English instrumental tutors up to 1800, held in British libraries. R.M.A. Research Chronicle 6: 24-50.
• Smith, C.P. (1969). The True Way to Learn to Play Perfectly the Oboe, the Recorder, and the Flageolet Along with the Principles of Music for Voice and All Kinds of Instruments. The Translations Center (Brooklyn College, City University of New York), Brooklyn. Translation of Freillon-Poncein (1700). Includes an introduction by Smith.
• Smith, C.P. (1982). The True Way to Learn to Play the Oboe, the Recorder, and the Flageolet Perfectly. American Recorder 23(1): 3-10. Includes a partial translation of Freillon-Poncein (1700).
• Smith, C.P. (1992). On Playing Oboe, Recorder, & Flageolet. Indiana University Press, Bloomington. ISBN 0253288819. Translation of Freillon-Poncein (1700). Includes an introduction by Smith.
• Speer, D. (2/1697). Grund-richtiger kurtz-leicht-und nöthiger jetz wol-vermehrter Unterricth der musicalischen Kunst. Basic, short, easy, and necessary, instruction in the art of music, now augmented. Second edition. Georg Wilhelm. Kühnen, Ulm.
• Staehelin, M. (1978). Neue Quellen zur mehrstimmigen Musik des 15. und 16. Jahrh underts in der Schweiz. [New sources of polyphonic music of the 15th and 16th centuries in Switzerland.] Schweizer Beiträge zur Musikwissenschaft 3 (3): 62-4 & figs 4-5.
• Stanesby, T. (?1732). A New System of the Flute a'bec, or Common English-Flute. London.
  Translation
  • Vives (2002).
• Sterne, Colin C. Quavering, quivering, and J.J. Quantz. American Recorder 18(3): 71-72.
• Stradner, G. (1983). Spielpraxis und Instrumentarium um 1500: dargestellt an Sebastian Virdung's Musica getutscht (Basel 1511). [Performing practice and instruments around 1500, as described in Sebastian Virdung's Musica Getutscht (Basel, 1511).] 2 vols. Forschungen zur älteren Musikgeschichte, Veröffenlichungen des Institutes für Musikwissenschaft der Universität Wien, Band 4/I-II. Verband der Wissenschafltlichen Gesellschaften Österichs, Vienna. ISBN 3853695159.
• Swaine, N. (ca 1818). The Young Musician, or the Science of Music, Familiarly Explained; with a Glosary of Musical Terms, and Phrases. G. Nicholson, Stourport.
• Talbot, J. (? date). Christ Church Library Music Ms 1187.
• Tans'Ur, W. (1746, 2/1753, 3/1756). A New Musical Grammar, or, The Harmonical Spectator … Author, London.
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• Tans'Ur, W. (1767). The Elements of Musick Display'd … Stanley Crowder, London. Book III is entitled The Elements of Musick Made Easy: or, an Universal Introduction to the Whole Art of Musick. Book II. Containing, the Structure of Musical Instruments: with the Scale of Musick Applicable to Each; and Directions Thereunto. viz. the Pitch-Pipe and its Use: the Organ, or Harpsichord,: the Bassoon and Haut-boy: the Bass Viol, Violin, and Guittar: the German and Common Flutes …
• Trichet, P. (ca 1640). Traité des instruments de musique. Manuscript.
  Facsimile
  • Möhlmeier & Thouvenot (2002).
• Vecchi, G. (1980), ed. Il vero modo di diminuir con tutte le sorti di stromenti. Bibliotheca Musica Bononiensis, Sezione 2, n. 23. Arnaldo Forni, Bologna. Transcription of dalla Casa (1584)
• Veilhan, J.-C. (1979). The Rules of Musical Interpretation in the Baroque Era. Leduc, Paris.
• Verschuere Reynvaan, J. (1795). Muzijkaal kunst-woordenboek. Amsterdam
• Vinquist, M. (1974). Recorder Tutors of the Seventeenth and Eighteenth Centuries; Technique and Performance Practice. Ph.D. Dissertation, University of North Carolina. University Microfilms International, Ann Arbor, Michigan. UMI order no. 75-15714.
• Vinquist, M. & N. Zaslaw (1971). Performance practice: a bibliography. The Norton Library. Norton, New York.
• Virdung, S. (1511). Musica getutscht und aussgezogen durch Sebastianum Virdung Priesters von Amberg und alles Gesang auss den Noten in die Tabulaturen diser benanten dryer Instrumenten der Orgeln: der Lauten: und den Flöten transferieren zu lernen Kurtzlich gemacht zu eren dem hochwirdigen hoch gebornen Fürsten und Herren: Herr Wilhalmen Bischove zum Straszburg seynem gnedigen Herren. [Music translated into German and exerpted by Sebastian Virdung, priest of Amberg. Everything there is to know about transcribing songs from notes into the tablatures of these three given instruments: the organ, the lute, and the recorder -- made simple. In honor of his gracious lord, the most reverend, high-born prince and lord, Wilhelm, Bishop of Strassburg.] Basel & Strasburg.
  Facsimiles:
  • Virdung, S. Musica getutscht, Basel 1511. Ed W. N. von Klaus, Bärenreiter, Kassel (1931).
  • Virdung, S. Musica getutscht, 1511. Publikation aelterer praktischer und theoretischer Musik-Werke 11. Broude Brothers, New York (1966).
  • Virdung, S. Musica getutscht, 1511. Documenta musicologica. 1. Reihe, Druckschriften-Faksimiles, 31. Bärenreiter, Kassel, Basel (1970). ISBN: 3761800045
  • Möhlmeier & Thouvenot (2002a).
  Translations:
  • Vorsterman, G. (1529).
  • Luscinius, Othmar (1536).
  • Ghelen, Jan van (1554).
  • Wright (1965).
  • Hettrick (1979).
  • Meyer (1980).
  • Bullard (1987).
  • Bullard, B. (1993).
• Virgiliano, A. (MS, ca 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.]
  Facsimiles
  • Il docimelo. Ed. Marcello Castellani. Archivum muscium, Collana di testi rari, 11. Studio per edizioni scelte, Florence (1979).
  • Möhlmeier & Thouvenot (2002).
• Vives, J. (2000). Tè'cnica d'articulació segons La Fontegara de Silvestro Ganassi, Venècia 1535, traducció dels aspectes més interessant referents a l'articulació corresponents al tractat més antic per a flauta de bec feta per Romàn Escalas. In Catalan and Spanish. URL: http://www.terra.es/personal/joanvips/fontegar.htm
• Vives, J. (2002). Traducció completa del Traité de la flute a bec i de fragments del Traité de la flute traversière extret dels Principes de la flute … de Jacques Hotteterre, París 1707, amb informació important sobre la interpretació de la m&uactue;sica francesa. URL: http://www.terra.es/personal/joanvips/hotcat.htm
• Vives, J. (2002). Traducció de Un nou sistema de flauta de bec de Thomas Stanesby Junior (Londres ca 1732) on es fa una interessant defensa de l'&uaccute;s de la flauta de bec tenor com a instrument solista. URL: http://www.terra.es/personal/joanvips/stanesby.htm
• Vorsterman, G. (1529). Livre plaisant et tres utile pour apprendre a faire & ordonner toutes tabulatures hors le discant, dont & par lesquelles lon peult facilement et legierement aprendre a jouer sur les Manicordion, Luc, et Flutes. [Entertaining and very useful book to learn to have at your command all tablatures except the discanat, by means of which one can easily and swiftly learn to play on the organ, lute, and recorder.] Guillaume Vorsterman, Antwerp (1529). Loose translation of Virdung (1511).
  Translations
  • Ghelen, Jan van (1554).
• Voss, C.F. (1752). Essai d'une mé pour apprendre à jouer de la flûte traversiere. Voss, Berlin. French translation of Quantz (1752).
  Facsimile
  • Essai d'une mé pour apprendre à jouer de la flûte traversiere. Zurfluh (1975, 2/1990). The second edition was published in 1990.
• Vossart, C. (2002). Sylvestro Ganassi: Oeuvres compl&egave;tes, volume 1, La Fontegara (1535). Trans., Jean-Philippe Navarre. Ed. Pierre Mardarga. Sprimont: AMICVS.
• Warner, T.E. (1964). Indications of Performance Practice in Woodwind Instruction Books of the 17th and 18th Centuries. PhD dissertation, New York University. UMI Order no. 65-01678.
• Warner, T.E. (1967). An Annotated Bilbiography of Woodwind Instruction Books, 1600-1830. Detroit Studies in Music Bibliogaphy 11. Information Coordinators, Detroit.
• Wright, D. (ca 1734). The Compleat Tutor for ye Flute Containing the Newest Instructions for that Instrument. Author, London (ca 1734).
• Wyatt, T. (1973). A question of temperament. Recorder & Music Magazine 4(6): 192-193.
• Zaconi, L. (1596, 2/1622). Prattica de musica utile et necessaria si al comositore per comporre i canti suoi regolatamente, si anco al cantore per assicurasi in tutte le cose cantabili. [Musical practice, useful and necessary to the composer of songs in a regular manner as well as to singers to be sure about everything to do with singing.] B. Carampello, Venice.
  Facsimiles
  • Prattica de musica. Georg Olms, Hildesheim, New York (1982). ISBN 3487071843. Facsimile of both 1596 and 1622 editions.
• Zimmermann, M. (1994). [Flattement.] ERTA (UK) Newsletter 6: xx-xx.

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