Recorder Home Page
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:
- 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
Translation
- 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:
- Cardano, J. De Musica (MS, 1568, revised 1574).
Vatican Ms 5850.
Translation:
- 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
- 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
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.
- 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
- 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
- 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
- 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
- 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
- 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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