Bibliography

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

  • Abondance, Florence. 1981. “Musiciens et musique en Normandie. Le Musée Instrumental de la Couture-Boussy.” Bulletin du Centre Normand d’Histoire Musicale 6: 5–7.
  • Academia Nazionale di Santa Cecilia. 2010. “Museo degli strumenti musicali: catalogo on line.” Museo degli strumenti musicali. http://museo.santacecilia.it/museo/cms.view?munu_str=0_2_0&numDoc=13.
  • Acht, Rob van. 1974. “De historische ontwikkeling van de blaasinstrumenten van de 16e tot de 19e eeuw.” In Historische houtblaasinstrumenten, Kasteel Ehrenstein te Kerkrade, 6-28 Juli 1974, 9–11. Den Haag / Kerkrade: Haags Gemeentenmuseum, Gemeente Kerkrade, Wereldmuziekconsours Kerkrade.
  • Acht, Rob van. 1988. “Dutch Wind-Instruments, 1670-1820.” Tijdschrift van de Vereniging Voor Nederlandse Muziekgeschiedenis 38: 99–122.
  • Acht, Rob van. 1999. “Dutch Wind Instruments from the Baroque Period: Scientific Qualities and Features.” Musique, Images, Instruments: Revue Française D’organologie et D’iconographie Musicale 4: 33–52.
  • Acht, Rob van. 2013. “Technical Drawings of Musical Instruments in Public Collections of the World. Suplement (2000).” Comité International Des Museés et Collections d’Instruments de Musique (CIMCIM). http://homepages.ed.ac.uk/am/iwd.html.
  • Acht, Rob van. 1997. “The Sound Quality of Dutch Wind Instruments from the Baroque Period: The Project (1).” In Proceedings, 533–42. St Albans: Institute of Acoustics.
  • Acht, Rob van, Vincent van den Ende, and Hans Schimmel. 1991. Niederländische Blockflöten des 18. Jahrhunderts = Dutch Recorders of the 18th Century: Sammlung/Collection Haags Gemeentemuseum. Celle: Moeck Verlag.
  • Adkins, Cecil. 2012. “The Anciuti Enigma.” In . Metropolitan Museum of Art, New York: Unpublished.
  • Aguilar, Patricia Michelini. 2014. “Leopoldo Miguez e a flauta doce: investigações sobre o instrumento doado pelo compositor ao museu do Instituto Nacional de Música [Leopoldo Miguez and the Recorder: Research on the Instrument Donated by the Composer to the Museum of the National Institute of Music].” XXIV Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música, São Paulo, Brasil. http://www.anppom.com.br/congressos/index.php/24anppom/SaoPaulo2014/paper/viewFile/3196/863.
  • Alizon, Jean-François. 1985. “Amateurs and Professionals in the 18th Century.” NEMA Journal 2: 16–18.
  • Alker, Hugo. 1963. “The Tenor Recorder: Its Development, Special Characteristics & Repertoire. With Additions and Amendments by Edgar Hunt.” Consort 20: 166–73.
  • Allain-Dupré, Philippe. 2000. Les flûtes de Claude Rafi, fleustier lyonnais au XVIe siècle historique, description, tailles, esthétique. Instruments historiques: monographs d’instruments, facteurs et luthers. Courlay: J.M. Fuzeau.
  • Alpert, Lorenzo. 2015. “Die Echoflöte.” Historische Holzblasinstrumente Andreas Schöni. Accessed December 9. http://www.schoenibern.ch/site/assets/files/1031/echofloete_concerto_koeln.pdf.
  • Alvarenga, João Pedro de, ed. 1994. Fábricas de Sons / Instrumentos de Música Europeus dos Séculos XVI a XX. Lisbon: Electa, Museu da Música.
  • Amman, Heinz. 1985. “Plan: Bressan Recorder from Bate Collection, Oxford.” FoMRHI Quarterly 40: 12. http://www.fomrhi.org/uploads/bulletins/Fomrhi-040.pdf.
  • Amman, Heinz. 2002. “Eine Sopranblockflöte von J.B. Gahn.” Windkanal, no. 2: 12–14. http://www.windkanal.de/images/stories/PDF/2002-2/Windkanal_200202_S12-14.pdf.
  • Ahrens, Christian. 2009. “The London Woodwind Maker John Jost Schuchart (Schuchardt).” Galpin Society Journal 62: 287–88.
  • Arnold, Dennis. 1964. “Instruments and Instrumental Teaching in the Early Italian Conservatoires.” Galpin Society Journal 18 (March): 72–81.
  • Arvidsson, Ragnar. 2015. “New Baroque Bore.” http://www.recorder-arvidsson.se/en/new-baroque-bore/.
  • Ashbee, Andrew. 1993. Records of English Court Music, VII (1485-1558). Aldershot: Scolar Press.
  • Atlas, Allan W. 1988. “Pandolfo III Malatesta mecenate musicale: musica e musicisti presso una signoria del primo quattrocent [Pandolfo III Malatesta Patron of Music: and Musicians at a 14th Century Town Hall].” Rivista italiana di musicologia 25: 53.
  • Avena Braga, Inês de. 2015. “Dolce Napoli : Approaches for Performance – Recorders for the Neapolitan Baroque Repertoire, 1695-1759.” Ph.D dissertation, Leiden: Leiden University. Academy of Creative and Performing Arts, Faculty of Humanities, Leiden University. http://hdl.handle.net/1887/33729.
  • Avena Braga, Inês de. 2012. “The Panormo Alto Recorder: A Dolce Flauto Dolce?” Journal of the American Musical Instrument Society 38: 34–46.
  • Avena Braga, Inês de. 2013. “Three Castel Recorders: Rome, Edinburgh and Especially Nice.” Recercare 25 (1-2): 75–93.
  • Baines, Anthony. 2002. Catalogue of Musical Instruments in the Victoria and Albert Museum. Part II: Non-Keyboard Instruments. Edited by Peter Thornton. London: V&A Publications. http://www.vam.ac.uk/__data/assets/pdf_file/0011/178499/Catalogue_Wind_Instruments.pdf.
  • Baines, Anthony. 1966. European and American Musical Instruments. London: Batsford.
  • Bali, János. n.d. “Renaissance Recorders in the Brukenthal Museum.” Academia. http://www.academia.edu/28416307/Renaissance_Recorders_in_the_Brukenthal_Museum.
  • Bali János. 2011. “A barokk furulya Magyarországon [The Baroque Recorder in Hungary].” DLA thesis, Pécs: Pécsi Tudományegyetem Művészeti Kar Doktori Iskola [Pécs University Faculty of Arts Doctoral School]. http://furulya.hu/fl/bali_dla.pdf.
  • Bali János. 2007. A furulya [The Recorder]. Budapest: Editio Musica Budapest.
  • Bali, János. 2007. “Vier kaum beachtete Renaissanceblockflöten [Four little-known Renaissance Recorders].” Tibia 32 (2): 419–25, 431.
  • Ballinger, C. 1997. “Museums: Bate Collection.” Early Music Today 5 (3): 10–13.
  • Bär, Frank P. 1992. “Musikinstrumente auf Schloß Sigmaringen [Musical instruments in Sigmaringen Castle].” Tibia 17 (2): 124–31. http://www.moeck.com/uploads/tx_moecktables/1992-2.pdf.
  • Bär, Frank P. 1994. “Die Sammlung der Musikinstrumente im Fürstlich-Hohenzollernschen Schloß zu Sigmaringen an der Donau. Katalog [The Collection of Musical Instruments in the Princely Hohenzollern Castle at Sigmaringen on the Danube. Catalogue].” In Tübinger Beiträge zur Musikwissenschaft. Vol. 15.
  • Bär, Frank P. 1999. “Neuerwerbsbericht.” Anzeiger des Germanischen Nationalmuseums 1998.
  • Bär, Frank P. 2001. Holzblasinstrumente im 16. und frühen 17. Jahrhundert. Familienbildung und Musiktheorie [Woodwind Instruments in the 16th and Early 17th Centuries. Family Education and Music Theory]. Vol. 24. Tübinger Beiträge zur Musikwissenschaft. Tübingen: Universität Tübingen.
  • Bär, Frank P. 1995. “‘…FAICT DE LA MAIN DE RAFFY LYONNOIS …’: Folgerungen aus einem Sigmaringer Instrumentenfund. [‘… made by the hand of Raffi, Lyons …’ Conclusions from an Instrument Find at Sigmaringen].” Musik in Baden-Württemberg 2: 75–108.
  • Barbieri, Patrizio. 2009. “An Assessment of Musicians and Instrument-Makers in Rome during Handel’s Stay, the 1708 Grand Taxation.” Early Music 37 (4): 597–619.
  • Beaudin, Jean-François. 1988. “New Plans of Old Flutes.” Recorder: Journal of the Victorian Recorder Guild 8: 22–25.
  • Beaudin, Jean-François. 1998. Liste de relevés de flûtes baroques [List of Baroque Flutes]. 312, Chemin Richford, Frelighsburg, Québec, Canada, JOJ-1CO.
  • Beaudin, Jean-François. 2015. Plan of Rippert Alto (Paris: Anonymous). 312, Chemin Richford, Frelighsburg, Québec, Canada, JOJ-1CO: Published by the Author. Accessed October 20. http://www.iinet.net.au/~nickl/inline/rippert_beaudin.jpg.
  • Beaudin, Jean-François. 1987. “De nouveaux plans de flûtes anciennes du Musée du Conservatoire de Paris [On New Drawings of the Early Recorders in the Paris Conservatoire Museum].” Flûte à bec & instruments anciens 23: 26–27.
  • Bellson, Julius. 1973. The Gibson Story. Kalamazoo, Michegan: Julius Bellson.
  • Benedikt, Erich. 1972. “Ungewohnte Stimmlagen der Blockflöte und ihre Bedeutung [Recorders with Unusual Ranges and Their Significance].” Musikerziehung, 25 (4): 156–59; (5): 210–12.
  • Benedikt, Erich. 1975. “Recorders of Unusual Sizes.” Recorder & Music 5 (2): 42–44.
  • Bennett, Mary. 1991. “Robert Goble.” Thursley Chronicle. http://www.gobleharpsichords.co.uk/Robert_Goble_Biog.pdf.
  • Bergmann, Walter. 1964. “The Chester Recorders.” Recorder and Music Magazine 1 (5): 141.
  • Bergstrøm, Ture. 1998. “Pörschmann-blockflöjten på; Musikhistorisk Museum: Beretning om en teknisk undersøgelse’ [the Pörschmann Recorder in the Musikhistorisk Museum: Report of a Technical Examination].” In Musikkens Tjenere: Instrument-Forsker-Musiker: Jubilæumsskrift for Musikhistorisk Museum og Carl Claudius’ Samling 1898-1998, edited by Mette Müller and Listbet Torp, 139–65. Copenhagen: Museum Tusculanums Forlag. http://www.bergstrom.dk/article1.html.
  • Bergstrøm, Ture. 2015. “Technical Drawings of Original Historical Musical Instruments.” Ture Bergstroøms Instrrumentbyggeri. Accessed August 22. http://www.bergstrom.dk/draw.html.
  • Bergstrøm, Ture. 1999. “Communication 1618: Technical Drawings of Musical Instruments on the Internet.” Translated by Oliver R. Hirsh. FoMRHI Quarterly 94: 26–31. http://www.fomrhi.org/uploads/bulletins/Fomrhi-094.pdf.
  • Bergstrøm, Ture. 2002. “Early Baroque Recorders.” Ture Bergstroøms Instrrumentbyggeri. http://www.bergstrom.dk/ebrec.html.
  • Bergstrøm, Ture. 1986. “Plan: Vienna Quint Bass Recorder.” FoMRHI Quarterly 43: 23. http://www.fomrhi.org/uploads/bulletins/Fomrhi-043.pdf.
  • Bergstrøm, Ture. 1999. “Two More Recorders for the Music of van Eyck.” In . http://www.euchmi.ed.ac.uk/gxjta.html.
  • Bernardini, Alfred. 1985. “Carlo Palanca e la costruzione di strumenti a fiato a Torino nel settecento [Carolo Palanca and the Construction of Wind Instruments in 16th-century Turin].” Il flauto dolce 13: 22–26.
  • Bernardini, Alfredo. 1989. “Woodwind Makers in Venice, 1790–1900.” Journal of the American Musical Instrument Society 15: 52–73.
  • Bernardini, Alfredo. 1986. “Andrea Fornari (1753–1841) ‘fabricator di strumenti’ a Venezia” [Andrea Fornari (1753–1841), Instrument Maker in Venice].” Il flauto dolce 14-15: 31–36.
  • Bernardini, Alfredo. 1985. “Oboe Playing in Italy from the Origins to 1800.” Oxford: Oxford University.
  • Bernardini, Alfredo, and Renato Meucci. 2002. “L’oboe d’avorio di Anciuti (1722) [The Ivory Oboe by Anciuti (1722)].” Rassegna di Studi e di Notizie 26: 371–83.
  • Bessaraboff, Nicholas. 1941. Ancient European Musical Instruments: An Organological Study of the Musical Instruments in the Leslie Lindsey Mason Collection at the Museum of Fine Arts, Boston. Boston: Harvard University Press.
  • Betz, Marianne. 1992. Der Csakan und seine Musik: Wiener Musikleben im frühen 19. Jahrunder, dargestellt am Beispiel einer Spazierstockblockflöte [The Csakan and its Music: Viennese Musical Life in the Early Nineteenth Century, Presented by the Example of a Walking-stick Recorder]. Tutzing: Hans Schneider.
  • Bijlo, Marcel. 2006. “Het Venetiaanse blokfluitconsrot in de zestiende eeuw: De Bassano-broers als ijkpunt [The Venetian Recorder Consort in the Sixteenth Century: the Bassano Brothers as a Reference Point].” Tijdschrift oude muziek 21 (3): 16–19.
  • Birsak, Kurt. 1973. Die Holzblasinstrumente Im Salzburger Museum Carolino Augusteum: Verzeichnis und entwicklungsgeschichtliche Untersuchungen [Woodwind Instruments in the Carolino Augusteum Museum, Salzburg: Directory and Historical Studies]. Publikationen des Instituts für Musikwissenschaft der Universitat Salzburg. Salzburg: Salzburger Museum Carolino Augusteum.
  • Bizzi, Guido, and Lorenzo Girodo, eds. 1991. La collezione di strumenti musicali del Museo Teatrale alla Scala [The Collection of Musical Instruments in the Museo Teatrale alla Scala]. Milan: Silvana Editoriale.
  • Blagodatov, Georgii I. 1972. Katalog Sobraniya Muzikalnykh Instrumentov. Leningrad: Edition Luzyka.
  • Blanchfield, David. 1972. “A Ninetenth-Century English Recorder.” Recorder Magazine 10 (2): 34–45.
  • Blezinger, Stephen. 1995. “Ganassi –Kynseker –Bressan –Denner: Bauliche unterschiede und Ihre Auswirkungen auf die muikalische Praxis [Ganassi, Kynseker, Bressan, Denner: Structional Differences and their Consequences for Musical Practice].” In Vorträge und Dokumentation. Karlsruhe. http://www.moeck.com/en/tibia/tibia-early-issues/1990-1999.html.
  • Blood, Brian. 2015. “The Dolmetsch Story.” Dolmetsch Musical Instruments. Accessed August 22. http://www.dolmetsch.com/Dolworks.htm.
  • Borders, M. 1988. European & American Wind & Percussion Instruments: Catalogue of the Stearns Collection of Musical Instruments. Ann Arbor: University of Michigan Press.
  • Bouterse, Jan. 2014. “Communication 2012: Frans Brüggen, 1934-2014.” FoMRHI  Quarterly, no. 128: 20–22. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-128/Comm%202012.pdf.
  • Bouterse, Jan. 2005. “The Woodwind Instruments of Richard Haka (1645/6–1705).” In From Renaissance to Baroque, Change in Instruments and Instrumental Music in the Seventeenth Century, edited by Johathan Wainwright and Peter Holman, 342. Aldershot and Burlington: Ashgate.
  • Bouterse, Jan. 2005. Dutch Woodwind Instruments and Their Makers, 1660–1760. Translated by Ruth Koenig. The Hague: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis.
  • Bouterse, Jan. 1989. “Maten van een barok-altblokfluit in moderne stemming [Measurement of a Baroque Alto Recorder at Modern Pitch].” Bouwbrief 55: 12–13.
  • Bouterse, Jan. 1991. “Inventarisatie muziekinstrumenten in Nederalandse musea. [Inventory of Musical Instruments in Netherlands Museums].” Bouwbrief 62: 20.
  • Bouterse, Jan. 1991. “The Descriptions of the Dutch Recorders in the Collection of the Haags Gemeentemuseum.” FoMRHI Quarterly 63: 51–54. http://www.fomrhi.org/uploads/bulletins/Fomrhi-063.pdf.
  • Bouterse, Jan. 1993. “Drie Baroksopraanblokfluiten van Richard Haka: Tips voor het maken van een copie. [Three Baroque Soprano Recorders by Richard Haka: Tips on How to Make a Copy].” Bouwbrief 17: 8–14.
  • Bouterse, Jan. 1998. “Communication 1569: The Alto Recorders of Steenbergen.” FoMRHI Quarterly 91: 19–27. http://www.fomrhi.org/uploads/bulletins/Fomrhi-091.pdf.
  • Bouterse, Jan. 1999. “Stempels en inscripties op Nederlandse houten blaasinstrumenten uit de barok [Stamps and Inscriptions on Dutch Baroque Woodwind Instruments].” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 49 (1): 32–54.
  • Bouterse, Jan. 2001. “Nederlandse houtblasinstrumenten en hun bouwers, 1660-1760. [Dutch Woodwind Instruments and their Makers, 1660-1760].” Ph.D. dissertation, Utrecht: Universiteit Utrecht.
  • Bouterse, Jan. 2004. “Recorders Recorded (CD): Catalogue.” Globe Records GLO 5209, Klaas, Posthuma Productions, Castricum.
  • Bouterse, Jan. 2007. “Die alte Dame, oder Spielen auf historischen Blockflöten [The Old Lady, or Playing on Historical Recorders].” Tibia 32 (4): 591–94.
  • Bouterse, Jan. 2013. “New List of Dutch Woodwind Instruments from the 17th and 18th Centuries, Including Photos of the Stamps of Their Makers.” De Website van  Jan Bouterse. http://www.mcjbouterse.nl/NewListDutchWoodwinds.htm.
  • Bouterse, Jan. 1989. “Communication 913: The Flutes of Robert and Willem Wijne.” FoMRHI Quarterly 55: 29–36. http://www.fomrhi.org/uploads/bulletins/Fomrhi-055.pdf.
  • Bouterse, Jan. 1991. “Communication 1052: The Dutch Recorders and Tranverse Flutes of the 17th and 18th Century: List of Instruments July 1991.” FoMRHI Quarterly 64: 33–37. http://www.fomrhi.org/uploads/bulletins/Fomrhi-064.pdf.
  • Bouterse, Jan. 1992. “Historical Dutch Recorders in American Collections.” American Recorder 33 (3): 14–18.
  • Bouterse, Jan. 1992. “Nederlandse houtblaasinstrumenten in Amerikaanse collecties. [Netherlands Woodwind Instruments in American Collections].” Bouwbrief 67: 3–10.
  • Bouterse, Jan. 1993. “Three Baroque Soprano Recorders by Richard Haka: Tips on How to Make a Copy.” Woodwind Quarterly 1: 120–33.
  • Bouterse, Jan. 1997. “Communication 1501: Four Baroque Recorders at Sotheby’s, November 1996.” FoMRHI Quarterly 86: 31–35. http://www.fomrhi.org/uploads/bulletins/Fomrhi-086.pdf.
  • Bouterse, Jan. 1997. “The Bolhuis Auction (1764).” FoMRHI Quarterly 89: 20–22. http://www.fomrhi.org/uploads/bulletins/Fomrhi-089.pdf.
  • Bouterse, Jan. 1998. “The Inventory of the Musical Instruments of Michel Charles Le Cene (1743).” FoMRHI Quarterly 90: 18–19. http://www.fomrhi.org/uploads/bulletins/Fomrhi-090.pdf.
  • Bouterse, Jan. 1999. “Die Baßblockflöten von Thomas Boekhout [The Bass Recorders of Thomas Boekhout].” Tibia 24 (2): 457–61. http://www.moeck.com/uploads/tx_moecktables/1999-2.pdf.
  • Bouterse, Jan. 2000. “Communication about Richard Haka’s Specification of the Delivery of 40 Woodwind Instruments to Sweden in 1685.” Journal of the American Musical Instrument Society 26: 243–50.
  • Bouterse, Jan. 2003. “Willem Beukers Senior (Utrecht 1666 – Amsterdam 1750) and Willem Beukers Junior (Amsterdam 1703-1781).” http://www.mcjbouterse.nl/dutch-ww-instruments/Beukers.pdf.
  • Bouterse, Jan. 2006. “Communication 1953: Reports of Woodwind Instruments in Dutch Sale Catalogues and Inventories between 1700 and 1830.” FoMRHI Quarterly 120: 3–5. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-120/Comm%201953.pdf.
  • Bouterse, Jan. 2010. “Communication 1898: Five Alto Recorders by Bressan: Windways and Blocks.” FoMRHI Quarterly 115: 16–26. http://www.fomrhi.org/uploads/bulletins/Fomrhi-115.pdf.
  • Bouterse, Jan. 2011. “Communication 1929: Alto Recorders by Bressan.” FoMRHI Quarterly 118: 5–16. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-118/Comm%201929.pdf.
  • Bouterse, Jan. 2010. “Communication 1910: Bressan Alto Recorders: Pitch and Sound; and Some Tips to Make a Copy.” FoMRHI Quarterly 116: 15–24. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-116/Comm%201910.doc.
  • Bouterse, Jan. 2009. “Communication 1880: Recorder Research: Windway Design.” FoMRHI Quarterly 113: 26–35. http://www.fomrhi.org/uploads/bulletins/Fomrhi-113.pdf.
  • Bouterse, Jan. 1980. “Correcties op bestaande blokfluit en traverso tekeningen [Corrections to Existing Recorder and Flute Drawings].” Bouwbrief 19: 5.
  • Bouterse, Jan. 1999. “Thomas Lerch: Vergelijkend onderzoek aan borings profielen van barok blokfluiten [Thomas Lerch: Comparative Study on Bore Profiles of Baroque Recorders].” Bouwbrief 95: 19–21.
  • Bouterse, Jan. 1978. “Meetgegevens Terton alt blokfluit Haags Gemeentemuseum [Measurements of a Terton Alto in the  Haags Gemeentemuseum].” Bouwbrief 11: 13.
  • Bouterse, Jan. 1997. “Communication 1504: Review of Thomas Lerch’s Book: Vergleichende Untersuchung von Bohrungsprofilen Historischer Blockfloten Des Barock [Comparative Research of Bore Profiles of Historical Baroque Recorders].” FoMRHI Quarterly 87: 10–15. http://www.fomrhi.org/uploads/bulletins/Fomrhi-087.pdf.
  • Bouterse, Jan. 2011. “Over de maatvoering van de altblokfluiten van Bressan, en het maken van een kopie [On the Dimensions of Alto Recorders of Bressan, and How to Make a Copy].” Bouwbrief 140: 8.
  • Bouterse, Jan. 2011. “De Altblokfluiten van Bressan; over Het Oplossen van Enkele Technische Problemen En Het Maken van Wisselstukken [The Alto Recorders of Bressan, Solving Some Technical Problems in Making Copies].” Bouwbrief 143: 7.
  • Bouterse, Jan. 2006–2007. “Sopraninoblokfluiten [Sopranino Recorders], deel I: vroeg-barokke instrumenten, [part 1: Early-baroque Instruments]; deel 2, de barokinstrumenten, [part 2: Baroque Instruments].” Bouwbrief, 123: 10–13; 124: 12–15.
  • Bouterse, Jan. 2009. “Communication 1835: Jan Steenbergen and His Oboes.” FoMRHI Quarterly 111: 5–15. http://www.fomrhi.org/uploads/bulletins/Fomrhi-111.pdf.
  • Bouterse, Jan. 2010. “Intoneren van blokfluiten [Recorder Intonation], deel 3: welvingen van kernspleten van vijf alten van Bressan. [part 3: Windway curvature in five Bressan altos], bijlage – aanbevelingen bij het maken van een Bressan-kopie. [Recorder Intonation, Appendix: Some Tips on How to Make a Bressan Copy].” Bouwbrief 136: 12, 18.
  • Bouterse, Jan. 2007. “Vroeg-barokke sopraninoblokfluiten: een aanvullend commentaar [Early-baroque Sopranino Recorders: an additional comment].” Bouw 124: 4.
  • Bouterse, Jan. 2007. “Die Renaissanceblockflöten der Sammlung alter Musikinstrumente des Kunsthistorisches Museums, boekrecensie [The Renaissance Recorders from the Musical-instrument Collection of the Kunsthistorisches Museum].” Bouwbrief 124: 1–22.
  • Bouterse, Jan. 1997. “Communication 1539: The Selhof Auction (1759).” FoMRHI Quarterly 89: 23–26. http://www.fomrhi.org/uploads/bulletins/Fomrhi-089.pdf.
  • Bouterse, Jan, and Gerard Verloop. 2006. “Wind Instruments in Dutch Sale Catalogues between 1623-1850 Extracted by Jan Bouterse from the the Publications Het Muziekinstrument Op de Boekenveiling, 1623-1775, 1776-1810; 1811-1850, by Gerard Verloop.” http://www.mcjbouterse.nl/dissertatie-bestanden/VerloopBlaasinstrumenten.pdf.
  • Bowers, Jane. 1984. “The Hotteterre Family of Woodwind Instrument Makers.” In Concerning the Flute: Ten Articles about Flute Literature, Flute Playing, Flute Making and Flutists, edited by Rien de Reede, 33–54. Amsterdam: Broekmans en Van Poppel.
  • Boydell, Brian. 1979. “Another Bass Recorder by Bressan.” Galpin Society Journal 32: 131–33.
  • Brach, Manfred. 1990. “Communication 1007: How to Design a Recorder.” FoMRHI Quarterly 61: 40–47. http://www.fomrhi.org/uploads/bulletins/Fomrhi-061.pdf.
  • Brach, Manfred. 1993. “Von der alten Kunst, ‘auff allerhand Arth’ Blockflöten zu entwerfen [On the Ancient Art of Designing Recorders ‘of Sundry Kinds’].” Tibia 18 (4): 610–16. http://www.moeck.com/uploads/tx_moecktables/1993-4.pdf.
  • Brach, Manfred. 1990. “Communication 987: On Three Well-Proportioned Alto Recorders.” FoMRHI Quarterly 60: 35–40. http://www.fomrhi.org/uploads/bulletins/Fomrhi-061.pdf.
  • Brade, Christine. 1975. Die mittelalter Kernspaldloten Mittel- und Nordeuropas: Ein Beitrag zur prähistorischer und zur Typologie mittelalterlicher Kernspaltjloten [Medieval Duct Flutes of Central and Northern Europe: a Contribution to the Typology of Prehistoric and Medieval Duct Flutes]. Vol. 14. Göttinger Schriften zur Vor- und Frühgeschichte. Neumunster: Karl Wachholtz.
  • Brandão, Dolores Castorino. 2013. “Representação documentária de instrumentos musicais: contribuição para a organização do Museu Instrumental Delgado de Carvalho da Escola de Música da Universidade Federal do Rio de Janeiro (UFRJ).” Dissertation, Rio de Janeiro: Universidade Federal do Rio de Janeiro. http://objdig.ufrj.br/26/monograf/796553.pdf.
  • Bran-Ricci, Josiane. 1982. “Holzblasinstrumente im Museum des Conservatoire National Supérieur de Musique, Paris [Woodwind Instruments in the Museum of the Paris Conservatoire].” Tibia 7 (2): 128–31. http://www.moeck.com/uploads/tx_moecktables/1982-2.pdf.
  • Brandsch, Gottlieb. 1928. “Die Musik unter den Sachsen [Music Under the Saxons].” In Bilder aus der Kulturgeschichte der siebenbürger Sachsen, edited by Friedrich Teutsch, 2:313. Hermannstadt.
  • Brenner, Klaus-Peter. 2009. “Musikinstrumentensammlung des Musikwissenschaftlichen Seminars der Georg-August-Universität Göttingen Bestandskatalog.” http://www.uni-goettingen.de/de/71170.html.
  • Bridge, Joseph Cox. 1901. “The Chester Recorders.” Proceedings of the Musical Association 27: 109–20.
  • Brown, Adrian. 2006. “The Ganassi Recorder: Separating Fact from Fiction.” American Recorder 47 (5): 11–18.
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Cite this article as: Lander, Nicholas S. 1996–2022. Recorder Home Page: Instruments: Historic makers, instruments & collections: Bibliography. Last accessed 26 June 2022. https://www.recorderhomepage.net/historic-makers-instruments-collections/bibliography/