Construction & Design

This bibliography covers a wide range of topics concerning the making of recorders, arranged under a number of useful headings. It will be of general interest to wind-instrument makers, repairers and players. However, the focus is largely on the literature of relevance to makers themselves. 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.

Acoustics

  • 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. 1997. “The Sound Quality of Dutch Wind Instruments from the Baroque Period: The Project (1).” In Proceedings, 533–42. St Albans: Institute of Acoustics.
  • Agulló, Joaquim, and J. Puig. 1995. “Time-Domain Modelling of the Recorder.” In Proceedings, 47–53. Dourdan: Société Française d’Acoustique.
  • Ando, Yoshinori, and Tatsuro Shima. 1977. “Physical Properties of Sustained Part of the Treble Recorder Tone and Its Subjective Excellence of Quality.” Journal of the Japanese Musicological Society 23 (2): 81–101.
  • Arvidsson, Ragnar. 2015. “New Baroque Bore.” http://www.recorder-arvidsson.se/en/new-baroque-bore/.
  • Auvray, Roman, Benoît Fabre, and Pierre-Yves Lagrée. 2012. “Regime Change and Oscillation Thresholds in Recorder-like Instruments.” Journal of the Acoustical Society of America 131: 1574–85. https://doi.org/10.1121/1.3672815.
  • Ayers, R. Dean, and Lowell J. Eliason. 1983. “Recorder Multiphonics.” Journal of the Acoustical Society of America 74: 29. https://doi.org/10.1121/1.2020894.
  • Backus, John. 1977. The Acoustical Foundations of Music. 2nd ed. New York: Norton.
  • Bacon, Francis. 1627. Sylva Sylvarum, Or, A Natural History in Ten Centuries. London: William Lee.
  • Bak, Niels. 1970. “Temperature and Blowing-Pressure in Recorder-Playing: Study of Treble Recorders.” Acoustica 22: 295–99.
  • Bak, Niels. 1971. “Investigating the Influence of Blowing Technique on Pitch and Tone in Recorder Playing.” Annual Report of the Institute of Phonetics 6: 307–13.
  • Benade, Arthur H. 1959. On woodwind instrument bores. Journal of the Acoustical Society of America 31: 137–146.
  • Benade, Arthur H. 1960. “The Physics of Woodwinds.” Scientific American 102: 145–54.
  • Benade, Arthur H. 1990. Fundamentals of Musical Acoustics. New York: Dover Publications.
  • Bixler, Martha, and Richard Sacksteder. 1977. “On the Application and Misapplication of Acoustical Theory to Wind Instruments.” American Recorder 17 (4): 136–42.
  • Blezinger, Stephen. 1995. “Ganassi –Kynsekker –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.
  • Blocker, Wade. 1974. “A Theory of Edgetone Production.” Journal of the Acoustical Society of America 44: 458. https://doi.org/10.1121/1.3437908.
  • Bolton, Philippe. 2015. “L’evolution de la perce des flutes a bec = The Evolution of the Recorder’s Bore.” Philippe Bolton, facteur de flûte à bec. Accessed July 30. http://www.flute-a-bec.com/evolutionperce.html.
  • Bolton Philippe. 2015. “A furulya muködése [How the recorder works].” hu. Accessed July 30. http://furulya.hu/furulya_mukodese/.
  • Bolton, Philippe. 2015. “Comment fonctionne la flûte à bec = How the Recorder Works.” Philippe Bolton, facteur de flûte à bec. Accessed July 30. http://www.flute-a-bec.com/acoustique.html.
  • Bolton, Philippe. 1995. “Resonans: A Software Program for Developing New Wind Instruments.” FoMRHI Quarterly 79: 69–72. http://www.fomrhi.org/uploads/bulletins/Fomrhi-079.pdf.
  • Bolton, Philippe. 1984–1985. “La flûte à bec [The Recorder].” Flûte à bec & instruments anciens 13 (14): 2–3.
  • Bowman, Peter. 2006. “A Question of: High F-Sharp.” Recorder Magazine 26 (4): 120–21.
  • Brindley, Giles. 1969. “A Method for Analyzing Woodwind Cross-Fingerings.” Galpin Society Journal 22: 44–46.
  • Castellengo, Michèle. 1976. “Contribution à l’étude éxperimentale des tuyaux à bouche.” Paris: Université de Pierre et Marie Curie.
  • Castellengo, Michèle. 1978. “La flûte à bec [The Recorder].” Flûte à bec 2: 9–15.
  • Chen, Jer-Ming, Dan Laurin, John Smith, and Joe Wolfe. 2007. “Vocal Tract Interactions in Recorder Performance.” 19th International Congress on Acoustics, Madrid, 2-7 September 2007. http://www.danlaurin.com/pdf/jm_chen_vocal_tract_Interaction.pdf.
  • Clark, Paul. 1960. “Recorder Player’s ABC.” Recorder and Music Magazine 3 (2): 61–62.
  • Delker, Elisabeth. 1980. Ansätze zur Untersuchung dynamischer Ausdrucksmöglichkeiten auf der Blockflöte [Approaches to the investigation of dynamic possibilities of expression on the recorder]. Celle: Moeck.
  • Derengowski-Stein, Mary. 1997. “Measurements of Sounding Frequency as a Function of Blowing Pressure in the Soprano Recorder.” In Proceedings, 19:379–84. St Albans: Institute of Acoustics.
  • Dessy, Raymond. 1999. “What New Experiments, Modeling, and Simulation Are Telling Us about Real Recorders.” American Recorder 40 (2): 8–10.
  • Dessy, Raymond, and Lee Dessy. 1998. “Hear, There, Everywhere: The Psychoacoustics of the Recorder.” American Recorder 39 (1): 8–14, 26.
  • Dessy, Raymond, and Lee Dessy. 1992. “The Principles of Recorder Design Explained.” American Recorder 3 (2): 7–14.
  • Driscoll, Daniel A. 1967. “Acoustical Characteristics of the Alto Recorder.” American Recorder 8 (4): 109–13. http://www.americanrecorder.org/docs/AR_Mag_Fall_1967_Multipage.pdf.
  • Driscoll, Daniel A. 1964. “Synthetics of a Recorder Tone Color.” Master’s dissertation, Troy, New York: Renssellaer Polytechnic Institute.
  • Dunn, John. 1999. “Harmonics and Fingering.” Recorder Magazine 19 (3): 106.
  • Dunn, John. 1977. “The Middle of the Note.” Recorder and Music 5 (9): 291–92.
  • Ernoult, Augustin, Benoît Fabre and David Forel. 2017. “Temporal Characterization of Experimental Recorder Attack Transients.” The Journal of the Acoustical Society of America 141: 383. https://doi.org/10.1121/1.4973861.
  • Elder, Samuel A. 1963. “Physical Basis of Woodwind-Recorder Voicing.” Journal of the Acoustical Society of America 35 (11): 1901.
  • Elder, Samuel A. 1964. “Physicists and Fipple Flutes at APL.” Applied Physics Laboratory Technical Digest,  January-February: 15–18. https://www.jhuapl.edu/Content/techdigest/pdf/APL-V03-N03/APL-03-03-Elder.pdf
  • Euler, Leonhard. 1727. Dissertatio physica de sono quam annuente numine divino jussu magnifici et sapientissimi philosophorum ordinis pro vacante professione physica ad d. 18. febr. a. MDCCXXVII. in auditorio juridico hora 9. publico eruditorum examini subjicit Leonhardus Eulerus A. L. M. respondente adolescente Ernesto Ludovico Burcardo, phil. cand. Basel: Thurneysen. http://www.nbn-resolving.de/urn:nbn:de:bvb:210-15-012196043-4.
  • Fabre, Benoît, A.P. Hirschberg, A.P.J. Wijnands, and A. van Steenbergen. 1992. “Transitoire d’attaque des instruments à embouchure de flûte” [Transients at the Mouthpiece of the Recorder].” Journal de Physique IV, Colloque C1: Supplément au Journal de Physique III 2: 67–70.
  • Feider, Denise. 1993. “Zur Entwicklung der Blockflöte im 20. Jahrhundert [The Development of the Recorder in the Twentieth Century].” SAJM Zeitschrift, 21 (1): 19–36; (2): 3–17; (3): 3–17; (4): 3–17, 21.
  • Feider, Denise. 1994. “Contribution à l’étude de la renaissance de la flûte á bec au XXe siècle [Contribution to the Study of the Twentieth-century Revival of the Recorder].” Master’s dissertation, Lyon: Université Lumière.
  • Fischer, Johannes. 1995. “1+0 = 2, 1+1 = 3, 2+1 = 6 und 2+2 = 10: Von den Schatten die uns im Zusammenspiel begleiten [On the Shadows that Accompany us in Playing Together].” In 3 Internationales Blockflöten Symposium Karlsruhe, ERTA Kongress 1995, Vorträge und Dokumentation, 17. Karlsruhe: European Recorder Teachers’ Association.
  • Fletcher, Nevile H., and Lorna M. Douglas. 1980. “Harmonic Generation in Organ Pipes, Recorders and Flutes.” Journal of the Acoustical Society of America 68 (3): 767–71. https://doi.org/10.1121/1.384815
  • Fletcher, Nevile H., and Thomas D. Rossing. 1998. The Physics of Musical Instruments. 2nd ed. New York: Springer.
  • Fröhlich, Susanne. 2019. “The New Potential of a 21st Century Recorder.” Dissertation, Graz: Universität für Musik und darstellende Kunst. https://www.dropbox.com/s/a06kz2py7r8hmbk/Susanne%20Froehlich_Dissertation_The%20new%20potential%20of%20a%2021st%20century%20recorder.pdf?dl=0
  • Giordano, Nicholas. 2013. “Direct Numerical Simulation of a Recorder.” The Journal of the Acoustical Society of America 113 (111). https://doi.org/10.1121/1.4773268
  • Giordano, Nicholas. 2014. “Simulation Studies of a Recorder in Three Dimensions.” Journal of the Acoustical  Society of America 135 (2): 906–16. https://doi.org/10.1121/1.4861249
  • Green, David H. 1990. “Recorder Tuning and Intonation, the Bare Acoustical Facts of Life.” Chrestologia, Febuary. https://aswltd.com/tuning.htm.
  • Harras, Manfred, and Ludwig Finscher. 1994. “Blockflöte [Recorder].” In Die Musik in Geschichte Und Gegenwart, Edn 2. Kassel: Bärenreiter.
  • Haynes, Bruce. 1991. “Beyond Temperament: Non-Keyboard Intonation in the 17th and 18th Centuries.” Early Music 19 (3): 357–81. http://music.indiana.edu/departments/academic/early-music/files/beyond-temperament-bruce-hayes.
  • Haynes, Bruce. 2007. “The Accommodating Recorder.” In Recorders Based on Historical Models. Fred Morgan – Writings and Memories, edited by Gisela Rothe. Fulda: Mollenhauer.
  • Haynes, Bruce. 1995. “Pitch Standards in the Baroque and Classical Periods.” Ph.D. dissertation, Montreal: Université de Montréal.
  • Herman, Robert. 1959. “Observations on the Acoustical Characteristics of the English Flute.” American Journal of Physics 27: 22–29.
  • Hirschberg, Avraham. 1999. “Luchtwervels in een blokfluit [On the Acoustics of Recorder Tone Generation].” http://www.flute-a-bec.com/miko-fluit.html
  • Hopkin, Bart. 1999. Air Columns and Toneholes: Principles for Wind Instrument Design. Revised edition. Willits, CA: Tai Hei Shakuhachi. https://windworld.com/products-page/books-cds/air-columns-and-toneholes-principles-for-wind-instrument-design/
  • Iwasaki, Takuya. 2013. “Numerical Study on the Function of Tone Holes of a Recorder-like Instrument from the Viewpoint of Aerodynamic Sound Theory.” Journal of the Acoustical Society of America 133: 680–84. https://doi.org/10.1121/1.4805548.
  • Juritz, John W.F. 1960. “Recorder Fingerings.” Galpin Society Journal 13: 91–92.
  • Kunes, Kay C., and Donald Hall. 1997. “Experiments on a Recorder with a Movable, Expandable Tone Hole.” Journal of the Acoustical Society of America 102: 3084. https://doi.org/10.1121/1.420209.
  • Laurin, Dan. 1998. “The Relation between the Vocal Tract and Recorder Sound Quality.” Dan Laurin, Recorder Player. http://www.danlaurin.com/pdf/wolfe_laurin.pdf
  • Laurin, Dan. 1999. “Shaping the Sound.” American Recorder 40 (4): 13–17.
  • Lerch, Thomas. 1996. Vergleichende Untersuchung von Bohrungsprofilen Historischer Blockflöten des Barock [A Comparative Investigation of Bore Profiles of Historical Baroque Recorders]. Berlin: Staatliches Institut für Musikforschung Preussischer Kulturbesitz Musikinstrumenten-Museum.
  • Loretto, Alec V. 2001. “Noise, Windways and Chamfers: Some Recent Computerised Findings.” Recorder Magazine 21a (4): 138–40.
  • Lottermoser, Werner. 1977. “Von der Akustik der Blockflöte [On the Acoustics of the Recorder].” SAJM Zeitschrift 31: 757–59.
  • Lottermoser, Werner. 1976. “Rauhe Innenwände von Blasinstrumenten verändern den Klang: Ein Beitrag zur Akustik der Flöten” [Rough Inner Walls of Wind Instruments Alter the Sound: A Contribution to the Acoustics of Recorders].” Instrumentenbau 30 (6): 452–53.
  • Lüpke, Arndt von. 1940. “Untersuchungen an Blockflöten [Investigations into Recorders].” Akustische Zeitschrift 5: 39–46.
  • Lyons, Donald H. 1981. “Resonance Frequencies of the Recorder (English Flute).” Journal of the Acoustical Society of America 70 (5): 1239–47. https://doi.org/10.1121/1.387136.
  • Martin, John. 1986. “The Acoustics of the Recorder.” Acoustics Australia 14 (2): 43–46.
  • Martin, John. 1987. “The Acoustics of the Recorder.” Recorder: Journal of the Victorian Recorder Guild 7: 22–27.
  • Martin, John. 1987. “A Study of Acoustical Aspects of the Recorder in Relation to Its Historical Development and Technique.” Ph.D. dissertation, Armidale, New South Wales, Australia: University of New England.
  • Martin, John. 1985. “Acoustics for Beginners: Some Sound Advice for Recorder Players.” Recorder: Journal of the Victorian Recorder Guild 2: 26–29.
  • Martin, John. 1990. “It’s the Extra Beating That Makes the Difference (More Kitchen Physics for Recorder Players).” Recorder: Journal of the Victorian Recorder Guild 11: 1–4.
  • Martin, John. 1994. The Acoustics of the Recorder. Celle: Edition Moeck 4054.
  • McKinnon, D.D. 2009. “The Acoustics of a Tenor Recorder.” B.A., University of Colorado. https://spot.colorado.edu/~pricej/downloads/DanielMcKinnonHonorsThesis.pdf.
  • Medley, Daphne. 1992. “Tuning and Acoustics.” Recorder Magazine 12 (4): 99–101.
  • Medley, Daphne. 1996. “Recorders and Reeds: 4 Foot and 8 Foot Pitch.” Recorder Magazine 16 (1): 16–18.
  • Middleton, James. 1975. “Those ‘Buzzing Ears.’” Recorder and Music 5 (2): 51.
  • Minnaert, Boris. 1984. “De natuurkunde van de blokfluit [Physics of the Recorder].” Bouwbrief 32: 6.
  • Mühle, Christophe. 1979. Untersuchungen über die Resonanzeigenschaften der Blockflöte [Investigations into the Resonance Modes of the Recorder]. Schriftenreihe Das Musikinstrument. Frankfurt am Main: Verlag Das Musikinstru¬ment.
  • Myers, Herbert W. 1981. “The Practical Acoustics of Early Woodwinds.” Doctor of Musical Arts, Stanford: Stanford University.
  • ederveen, C.J. 1988. Acoustical Aspects of Woodwind Instruments. DeKalb: Northern Illinois University Press.
  • Onogi, Kimie, Hiroshi Yokoyama, and Akiyoshi Iida. 2018. “Direct Aeroacoustic Simulation of Acoustic Radiation in Recorders with Different Windway Geometries.” Journal of the Acoustical Society of America 144 (3): 1927. https://doi.org/10.1121/1.5068440.
  • Osmond, D.W.J. 1976. “The Optimum Breath Pressure for the Recorder.” Recorder and Music, 5 (7): 227–30; (8): 258–60.
  • Raudonikas, F. 1982. “Communication 419: Blown Resonance of Baroque Flute-Traverso IV: The Tone and the Blowing Pressure.” FoMRHI Quarterly 28: 26–33. http://www.fomrhi.org/uploads/bulletins/Fomrhi-028.pdf.
  • Sauveur, Joseph. 1701. Principes d’acoustique et de musique. Paris: Academie Royal des Sciences. https://imslp.org/wiki/Principes_d’acoustique_et_de_musique_(Sauveur%2C_Joseph).
  • Sela, Bábara. 1995. “Afinación de intervalos puros, un artículos sobre los sonidos resultantes de utilidad para los flautistas de pico [On difference tones produced by recorders].” Revista de flauta de pico 1: 2–5.
  • Skordos, Panayotis A. 1995. “Parallel Simulation of Subsonic Fluid Dynamics on a Cluster of Workstations.” In . Pentagon City, Virginia.
  • Skordos, Panayotis A. 1995. “Economical High Performance Parallel Simulations of Wind Instruments.” In . San Diego. http://groups.csail.mit.edu/mac/users/pas/p/sc95.html.
  • Skordos, Panayotis A., and G.J. Sussman. 1995. “Comparison between Subsonic Flow Simulation and Physical Measurements of Flue Pipes.” In Proceedings of ISMA 1995, International Symposium on Musical Acoustics, Dourdan, France, 6. http://groups.csail.mit.edu/mac/users/pas/p/aim1535.pdf.
  • Skordos, Panayotis A. 1995. “Modeling Flue Pipes: Subsonic Flow, Lattice Boltzmann, and Parallel Distributed Computers.” Ph.D. dissertation, Cambrdige: Massachusetts Institute of Technology. http://www.dtic.mil/dtic/tr/fulltext/u2/a297994.pdf.
  • Sopranzi, Pietro. 2000. “Come E Perché Il Flauto Dolce Suona [How and Why the Recorder Produces Sound].” In Il Flauto Dolce: Dallo Scolaro Al Virtuoso [The Recorder: From Student to Virtuoso], edited by Vittorio Nicolucci, 15–29. Bologna: UT Orpheus Edizioni.
  • Steinkopf, Otto. 1983. Zur Akustik der Blasinstrumente: Ein Wegweiser für den Instrumentenbauer [On the Acoustics of Wind Instruments: A Guide for the Instrument Maker]. Celle: Moeck.
  • Tarasov, Nik. 1999. “De gläserne Blockflötenspieler.” Windkanal, no. 1: 6–9. http://www.windkanal.de/images/stories/PDF/1999-1/1999-1.pdf.
  • Thacker, Jarad W., and Nicholas Giordano. 2021. “Regime Change in the Recorder: Using Navier-Stokes Modeling to Design a Better Instrument.” Journal of the Acoustical Society of America 151 (43). https://asa.scitation.org/doi/full/10.1121/10.0005317.
  • Thalheimer, Peter. 1995. “Beobachtungen zum Überbasverhalten von Blockflöten: Alte Bauprinzipien als Ausgangspunkt für neu Instrumente? [Observations on the Overblowing Behaviour of Recorders – Old Construction Principles as a Starting Point for New Instruments].” Tibia 20 (1): 362–68.
  • Thalheimer, Peter. 2010. “Eng oder weit, kurz oder lang ? Blockflöten-mensuren und ihre Auswirkungen auf Tonumfang und Griffsystem [Narrow or Wide, Short or Long? Recorder Scaling and its Effect on Tonal Range and Fingering System].” Tibia 35 (1): 3–11.
  • Thomas, Denis. 1999. “Harmonics and Fingering.” Recorder Magazine 19 (2): 48–50.
  • Thomas, Denis. 1996. “Communication 1430: Bell Key Acoustics.” FoMRHI Quarterly 83: 35. http://www.fomrhi.org/uploads/bulletins/Fomrhi-083.pdf.
  • Turicchi, Thomas E. 1966. A Study of the Acoustical Properties of a Renaissance, Baroque, and Contemporary Fipple Flute (recorder). Studies in Music 25. Washington, D.C.: Catholic University of America.
  • Verge, Marc Pierre. 1995. A Study of the Acoustical Properties of a Renaissance, Baroque, and Contemporary Fipple Flute (recorder). Doctoral Dissertation. Eindhoven: Technische Universiteit Eindhoven.
  • Verge, Marc Pierre. 1995. “A Physical Model of Recorder-like Instruments.” In Proceedings: International Computer Music Conference, September 3–7, 1995, 37–44. San Francisco: ICMA and Banff Centre for the Arts.
  • Verge, Marc Pierre. 1995. “Aeroacoustics of Confined Jets: With Applications to the Physical Modelling of Recorder-like Instruments.” Ph.D. dissertation, Eindhoven: Technische Universiteit.
  • Verge, Marc Pierre, and René Caussé. 1994. “Linear Analysis of the Initial Transient of a Recorder.” In Proceedings of the Stockholm Music Acoustics Conference, July 28–August 1, 1993, 525–30. Stockholm: Royal Swedish Academy of Music = Kungl. Musikaliska Akademiens Skriftserie.
  • Verge, Marc Pierre, Benoit Fabre, Avraham Hirschberg, and A.P.J. Wijnands. 1997. “Sound Production in Recorderlike Instruments: I. Dimensionless Amplitude of the Internal Acoustic Field.” Journal of the Acoustical Society of America 101 (5): 2914–24. http://doi.org/http://dx.doi.org/10.1121/1.418521.
  • Verge, Marc Pierre, Avraham Hirschberg, and René Caussé. 1997. “Sound Production in Recorderlike Instruments: II. A Simulation Model.” Journal of the Acoustical Society of America 101 (5): 2925–39. http://doi.org/http://dx.doi.org/10.1121/1.419481.
  • Winckel, Fritz. 1967. Music, Sound and Sensation – a Modern Exposition. New York: Dover Publications.
  • Wogram, Klaus, and Jürgen Meyer. 1985. “Über den Spieltechnischen Ausgleich von Intonationsfehlern bei Blockflöten [On the Adjustment through Playing Technique of Intonation Errors on Recorders].” Tibia 10 (2): 322–25. http://www.moeck.com/uploads/tx_moecktables/1985-2.pdf.
  • Wogram, Klaus, and Jürgen Meyer. 1984. “Zur Intonation bei Blockflöten [On the Intonation of Recorders].” Acoustica 60 (3): 137–46.
  • Wyatt, Theo. 1973. “A Question of Temperament.” Recorder and Music Magazine 4 (6): 192–93.
  • Wyatt, Theo. 1975. “My Complimentary Recorder.” Recorder and Music Magazine 5 (4): 120–22.
  • “Wie entsteht ein Blockflötenton? [How Does the Recorder Produce a Tone?].” 1969. Das Musikinstrument: internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 18 (9): 1150–52.
  • Yokoyama, Hiroshi, Akira Miki, Hirofumi Onitsuika, and Akiyoshi Iida. 2015. “Direct Numerical Simulation of Fluid–Acoustic Interactions in a Recorder with Tone Holes.” Journal of the Acoustical Society of America 138: 858. https://doi.org/10.1121/1.4926902.
  • Yoshinori, Ando. 1978. “Physical Properties of Treble Recorder Tones Suitable for Baroque Music.” Journal of the Acoustical Society of America 64: 151. https://doi.org/10.1121/1.2003910.

Environmental & Ethical Issues

Health Issues

  • Damon, Rick. 2010. “Communication 1928: Danger of Spontaneous Combustion Using Linseed Oil.” FoMRHI Quarterly 117: 41. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-117/FomrhiQ%20117.doc.
  • Die Abteilung Musikinstrumente. 1933. “Erkrankungen bei Benutzung von Cocopolo-Blockflöten [Sicknesses from using cocobolo recorders].” Bärenreiter-Verlag.
  • Faeti, Paolo. 2006. “Microbiological Issues in Recorder Playing and Maintenance.” ERTA Newsletter, no. January. http://members.iinet.net.au/~nickl/articles/disinfect_en.pdf.
  • Gambicher, Thilo, Stefanie Boms, and Marcus Freitag. 2004. “Contact Dermatitis and Other Skin Conditions in Instrumental Musicians.” BMC Dermatology 4 (1): 3. http://www.biomedcentral.com/1471-5945/4/3.
  • Goodacre, Julian. 2011. “Communication 1931: More on the Dangers of Combustion; Linseed Oil.” FoMRHI Quarterly 118: 18. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-118/Comm%201931.pdf.
  • Hausen, Björn M. 1981. Woods Injurious to Human Health. Berlin, New York: Walter de Gruyter.
  • Hirsch, Scott. 1993. “Wood Dust in a Small Shop.” Woodwind Quarterly 2: 28.
  • Kunath, Jo. 2019. “Paetzold: Eco–Friendly Innovation.” Recorder  Magazine 39 (1).
  • Mitchell, John, and Arthur James Rook. 1979. Botanical Dermatology. Vancouver: Greengrass.
  • Mitchell, John, and Arthur James Rook. 1994. “Botanical Dermatology Database  (BoDD).” http://www.botanical-dermatology-database.info/.
  • Murrow, Gene, ed. 1995. “From Cradle to Lathe: The World according to Recorder Makers.” Revista de Flauta de Pico 2: 7–10.

Materials

  • Bolton, Philippe. 1982. “Les bois dont on fait les flûtes [The Woods from which Recorders are Made].” Flûte à bec 3: 13–15.
  • Bouterse, Jan. 1985. “Communication 641: The Microwave Way: Drying Boxwood Fast and Easy.” FoMRHI Quarterly 40: 74–45. http://www.fomrhi.org/uploads/bulletins/Fomrhi-040.pdf.
  • Bouterse, Jan. 2010. “Houtsoorten voor blokfluiten [Woods for Recorders].” Bouwbrief 139: 10–15.
  • Brauer, Christoph. 1977. “Holz für Blockflöten: Anregungen zu einer Broschüre für Spieler und Käufer [Wood for Recorders: Suggestions for a Brochure for Players and Buyers].” Instrumentenbau 31 (12): 764, 766.
  • Bruns, Mareike. 2005. “Holz – Werkstoff für den Flötenbau [Wood – Material for Recorders].” Tibia 30 (2): 439–41.
  • Burger, Hans-Joachim, and Nik Tarasov. 2001. “Synpor – oder die Kunst des Erfindens [Synpor – or the Art of Invention].” Windkanal, no. 2: 14–18. http://www.windkanal.de/images/stories/PDF/2001-2/2001-2.pdf.
  • Davidson, Martin. 1975. “Observations on the Relation between Wood and Tone Quality in Recorders.” American Recorder 16 (3): 88–90.
  • Dessy, Raymond. 1995. “New Kinds of Plastic Wood.” Woodwind Quarterly 36 (5): 14–15.
  • Dolmetsch, Carl F. 1970. “Is There Magic in Wood?” Recorder and Music Magazine 3 (6): 217.
  • Duhot, Jean-Joël. 1986. “Entretenir une flûte: Jean-Joël Duhot a rencontré Claire Soubeyran [Recorder Maintenance: Jean-Joël Duhot has met Claire Soubeyran].” Flüte à bec & instruments anciens 20: 3–7.
  • Edfors, John. 1996. Woodwind Instruments from PVC. Guidlines for Constructing Experimental Woodwind Instruments from PVC Pipe & Related Materials. Stranger Creek Productions. http://www.shakuhachi.com/CM-Edfors-WIPVC.html.
  • Espinoza, Edgard O., and Mary-Jacque Mann. 2000. Identification Guide for Ivory and Ivory Substitutes. 3rd ed. Richmond, VA.: Ivory Identification, Inc. https://www.fws.gov/lab/ivory.php.
  • Esteves Pereira, L.A. 1979. “Communication 201: Artificial Ivory Made from Milk.” FoMRHI Quarterly 15: 59. http://www.fomrhi.org/uploads/bulletins/Fomrhi-015.pdf.
  • Feider, Denise. 1993. “Zur Entwicklung der Blockflöte im 20. Jahrhundert [The Development of the Recorder in the Twentieth Century].” SAJM Zeitschrift, 21 (1): 19–36; (2): 3–17; (3): 3–17; (4): 3–17, 21.
  • Feider, Denise. 1994. “Contribution à l’étude de la renaissance de la flûte á bec au XXe siècle [Contribution to the Study of the Twentieth-century Revival of the Recorder].” Master’s dissertation, Lyon: Université Lumière.
  • Fröhlich, Susanne. 2019. “The New Potential of a 21st Century Recorder.” Dissertation, Graz: Universität für Musik und darstellende Kunst. https://www.dropbox.com/s/a06kz2py7r8hmbk/Susanne%20Froehlich_Dissertation_The%20new%20potential%20of%20a%2021st%20century%20recorder.pdf?dl=0.
  • Gill, D.S. 1999. “Communication 1617: Working GPS Plastic Ivory.” FoMRHI Quarterly 94: 25. http://www.fomrhi.org/uploads/bulletins/Fomrhi-094.pdf.
  • Gouralnik, Sergey. 2015. “Artctic Antiques, Specialist Mammoth Ivory Trader.” https://www.mammothivorytrade.com/.
  • Guidecoq, Paul. 1982. “Les buis de La Couture: aux tourneurs qui créèrent la flûte à bec [The Boxtrees of La Couture: on the Turners who Created the Recorder].” Flûte à bec 5: 14–18.
  • Hachez, R. 1976. “Communication 35: An Ivory Substitute.” FoMRHI Quarterly 5: 25. http://www.fomrhi.org/uploads/bulletins/Fomrhi-005.pdf.
  • Hirsch, Scott. 1994. “Synthetic Lubricants and Woodwinds.” Woodwind Quarterly
  • Hirsch, Scott. 1994. “Cork.” Woodwind Quarterly 4: 80–86.
  • Holtzapffel, Charles. 1843. Turning and Mechanical Manipulation. Vol. 1. Materials, Their Choice, Preparation and Various Modes of Working Them, Generally without Cutting Tools. 2nd ed. Vol. 1. 5 vols. London: Holtzapffel & Co. http://www.galleyrack.com/images/artifice/machine-shop/ornamental-turning/literature/holtzapffel/holtzapffel-vol-1-1846-2ed-2thou-google-harvard–Turning_and_Mechanical_Manipulation.pdf.
  • Kanji, Ricardo, and Jacqueline Sorel. 1994. “Authenticity in Recorder Making.” Woodwind Quarterly 4: 46–56.
  • Knapp, Kay-Dietrich. 2019a. “Auf dem Weg zu edlen Hölzern. [On the way to fine woods].” Windkanal, no. 4.
  • Knapp, Kay-Dietrich. 2019b. “Wertvolle Klanghölzer für Blockflöten [Valuable tone-woods for recorders].” Windkanal, no. 4.
  • Kögel, Andreas. 2019. “Klingen Blockflöten aus Holz anders als Blockflöten aus Kunststoff? [Do wooden recorders sound different to plastic recorders?].” Windkanal Bonus Material, no. 3. https://www.windkanal.de/images/files/stories/bonusmaterial/plastikvsholz/20180301_Experiment_Blockfloeten_Gesamtbericht.pdf.
  • Kuhweide, Peter. 1990. “Cedernholz für den Flötenblock [Cedar for the recorder block].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 39 (11): 22–23.
  • Kuhweide, Peter. 1990. “Une précision accrue: le buis et les ‘bois de buis’ [An Increase in Precision: The Boxwood Tree and Boxwood].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 39 (11): 89–90.
  • Kuhweide, Peter. 1995. “Hail, Cedar!” American Recorder 36 (5): 17.
  • Kuhweide, Peter. 1989. “Königsholz: Qualitätsmaterial für den Flötenbau [Kingwood (Violetta): Quality Material for Recorder Making].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 28 (11): 26–27.
  • Leaf, Helen. 2001. “Communication 1734: Hornworking Nuts and Bolts: Selecting Raw Materials.” FoMRHI Quarterly 101: 22–23. http://www.fomrhi.org/uploads/bulletins/Fomrhi-101.pdf.
  • Levin, Philip. 1984. “Which Wood Should I Choose?” American Recorder 25 (3): 105–7.
  • Li Virghi, Francesco. 1996. “Ceramic Head Recorder: An Important Development in the Recorder Field.” http://members.iinet.net.au/~nickl/ceramica_english.html.
  • Li Virghi, Francesco. 1996. “Un flauto dolce con testa in ceramica [A recorder with a ceramic head].” Rencontres Internationales de Musique Ancienne. http://members.iinet.net.au/~nickl/ceramica.html.
  • Loretto, Alec V. 1993. “Plastic Recorders.” Recorder Magazine 13 (1): 3–4.
  • Loretto, Alec V. 1975. “This Way or That? Some Comments on the Direction of Grain in Woodwind Instruments.” Recorder and Music 5 (1): 2–4.
  • Loretto, Alec V. 1996. “Communication 1431: Recorder Woods – Do They Influence the Sound?” FoMRHI Quarterly 83: 36–38. http://www.fomrhi.org/uploads/bulletins/Fomrhi-083.pdf.
  • Serrano Márquez, Carlos. 2000. “The Growing World of Wood.” American Recorder 41 (1): 7–9.
  • Merino-Rodríguez, Manuel. 1983. Plants and Plant Products of Economic Importance. Terminology Bulletin 25. Rome: Food & Agriculture Organization of the United Nations.
  • Moeck, Hermann A. 1976. “Auf Holz geblasen: Wissenswertes über ein Baumaterial für Musikinstrumente [Blowing on Wood: Things Worth Knowing About a Building Material for Musical Instruments].” Tibia 1 (2): 81–87.
  • Morgan, Frederick G. 1987. “A Players Guide to the Recorder.” Recorder: Journal of the Victorian Recorder Guild, 6: 1–4; 7: 10–16.
  • Murrow, Gene, ed. 1995. “From Cradle to Lathe: The World according to Recorder Makers.” Revista de Flauta de Pico 2: 7–10.
  • Naylor, Larry. 1994. “Grenadilla Wood and the Environment.” Woodwind Quarterly 6: 44–61.
  • O’Brien, Emily. 2021. “Temperament and the Harmonic Series.” Recorder  Magazine 41 (2): 50–54.
  • Pearson, Frederick G.O., and Constance Webster. 1967. Timbers Used in the Musical Instrument Industry. London: Forest Products Laboratory, Ministry of Technolgy.
  • Pérez Arbeláez, Enrique. 1956. Plantas utiles de Columbia. 4th ed. Bogotá: Libreria Colombiana.
  • Polcynski, Mark. 1997. “Selecting Plastic for Woodwinds.” Woodwind Quarterly 14: 66–71.
  • Reviers, Bruno de. 1987–1988. “De nouveax bois pour la facture des flûtes a bec [On New Woods for Recorder Making]. 1. Sélection d’essences exotiques & réalisation d’une flûte en kuredhi. [1. Selection of Exotic species and Making a Recorder in Kuredhi].  2. Réalisation d’une flûte en randoo [ 2. Making a recorder in Randoo]. 3: Réalisation d’une flûte en wakaru (cocotier)” [Making a recorder in Wakaru (Coconut)].” Flûte à bec & instruments anciens, 23: 9–13; 24: 23–25; 26: 7–10.
  • Richter, Hans G. 1988. Holz als Rohstoff Für den Musikinstrumentenbau [Wood as a Raw Material for Musical Instruments]. Celle: Edition Moeck.
  • Rowell, Roger M. 1995. “One Way to Keep Wood from Going This Way and That.” American Recorder 36 (5): 12–13, 15–16.
  • Schölch, R. 1978. “Geeignete Edelhölzer für den Blockflötenbau [Suitable High-grade Woods for Recorder Making].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 27 (7): 1052–53.
  • Schott, Jürgen. 2015. “Schott, Elfenbeinschnitzerei & Mammutverabeitung [Schott, Schott, Ivory & Mammoth Processing].” http://www.mammutwerkstatt.de/.
  • Seely, Oliver. 2002. “Physical Properties of Common Woods.” http://www.csudh.edu/oliver/chemdata/woods.htm.
  • Segerman, Ephraim. 1983. “Communication 460: Wood Contraction and Instrument Bores.” FoMRHI Quarterly 31: 54–55. http://www.fomrhi.org/uploads/bulletins/Fomrhi-031.pdf.
  • Silverman, Steve. 2015. “The Matchstick Man.” Useless Information. Accessed November 8. http://www.uselessinformation.org/matchsticks/index.html.
  • Simpson, Adrienne. 1986. “Making Recorders of Gidgee, Tawa and Black Maire.” Continuo November: 2–5.
  • Stevens, W.R. 1989. “Communication 910: GPS Agencies Artificial Ivory.” FoMRHI Quarterly 55: 24. http://www.fomrhi.org/uploads/bulletins/Fomrhi-055.pdf.
  • Stiegler, Helga M. 1999. “Immer nur Buchs? [Still Only Boxwood?].” Windkanal, no. 2: 15.
  • Taggart, Stephen. 1976. “Communication 24: A Substitute for Ivory.” FoMRHI Quarterly 4: 18. http://www.fomrhi.org/uploads/bulletins/Fomrhi-004.pdf.
  • Vollbrink, Uta. 2009. “Flötenholz: Grenadill. Impressionen rund um einen edlen Rohstoff [Wood for Recorders: Grenadilla. Impressions of a noble Raw Material].” Windkanal, no. 2: 20–23. http://www.windkanal.de/images/stories/PDF/2009-2/Windkanal-2009-2-Grenadill.pdf.
  • Zadro, Michael G. 1975. “Woods Used for Woodwind Instruments since the 16th Century.” Early Music, 3 (2): 134–36, (2): 249–51.
  • “A & M Wood Specialty Ltd (Canada) – supplier of specialist wood for musical instrument-making.” 2007. http://www.amwoodinc.com/.
  • “Australian Timbers and Musical Instruments (Australia).” 1998. http://fennerschool-associated.anu.edu.au/fpt/nwfp/musicaltimbers/musicaltimbers1.html.
  • “Max Cropp (Germany) – supplier of specialist wood for musical instrument-making.” 2015. http://www.cropp-timber.com/.
  • “Tonewood Kölbl (Austria) – supplier of specialist wood for musical instrument-making.” 2014. http://www.tonewood-koelbl.com/.
  • “Tropical Exotic Hardwoods of Latin America (USA) – supplier of specialist wood for musical instrument-making.” 2015. http://www.tehwoods.com/.
  • “Octopus Wood Works (Turkey) – supplier of specialist wood for musical instrument-making.” 2015. http://www.octopus.com.tr/store/.
  • “Sá Rosas (Portugal) – supplier of specialist wood for musical instrument-making.” 2015. http://www.novitasrosas.com/.
  • “Wood Web (USA) – woodworking Industry Information.” 2015. http://www.woodweb.com/.
  • “Elforyn [a High-Grade Ivory Substitute Material Tha Thas a High Mineral Content].” 2015. http://www.elforyn.info/Materialen.htm.
  • “GPS Agencies.” 2015. http://www.gpsagencies.co.uk/.

Original Instruments

Societies, Forums & Discussion Lists

  • “American Musical Instrument Society (AMIS).” 2015. Accessed August 1. http://www.amis.org/
  • “Association des Collectionneurs d’Instruments de Musique à Vent (ACIMV).” 2015. Accessed August 1. http://acimv.blogspot.com.au/
  • “Comité International des Museés et Collections d’Instruments et de Musique (CIMCIM).” 2010. http://network.icom.museum/cimcim/
  • “Fellowship of Makers, Restorers and Researchers of Musical Instruments (FoMRHI).” 2015. Accessed August 1. http://www.fomrhi.org/
  • “Galpin Society for the Study of Musical Instruments.” 2012. http://www.galpinsociety.org/
  • “Musical Instrument Makers Forum (MIMF) – interactive discussion forum for musical instrument makers of all kinds.” 1997–2012. http://www.mimf.com/
  • “Bouwerskontact, vereniging voor muziekinstrumentenbouw en onderzoek  [forum for musical instrument making and research].” 2015. Accessed November 12. http://www.bouwerskontakt.nl/

Study Recorder Making

Measuring

Designing

  • Arvidsson, Ragnar. 2015. “New Baroque Bore.” http://www.recorder-arvidsson.se/en/new-baroque-bore/.
  • Assendelft, Leen van. 1999. “Een grote vierkante blokfluit [A Large Square Recorder].” Bouwbrief
  • Bloodwortth, Dennis. 1994. “The Lockwood Great Bass Recorder.” Recorder Magazine 14 (1): 13.
  • Bloodworth, Dennis. 1992. “A New Design of Bass Recorder.” Recorder Magazine 12 (1): 3–5.
  • Bolton, Philippe. 1995. “Resonans: A Software Program for Developing New Wind Instruments.” FoMRHI Quarterly 79: 69–72. http://www.fomrhi.org/uploads/bulletins/Fomrhi-079.pdf.
  • Bouterse, Jan. 1994. “Vergroten en verkleinen van blokfluiten [Scaling and Resizing Recorders].” Bouwbrief 73: 7–11.
  • Bouterse, Jan. 2000. “Naar een nieuwe blokfluit [Towards a New Recorder].” Bouwbrief 97: 16.
  • Bouterse, Jan. 2009. “Intoneren van blokfluiten [Recorder Intonation], deel 1:  op zoek naar de perfecte kopie; het probleem van het opmeten van kernspleten [part 1: Looking for the Perfect Copy, the Problem of Measuring Bore Dimensions]; deel 2: speurtocht naar de geheimen van de kernspleet [part 2: Quest for the secret to the window gap], bijlage – het maken van een kernspleet [appendix: How to make the windway].” Bouwbrief, 134: 12–18; 135: 4–12.
  • 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. 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.
  • 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.
  • Fröhlich, Susanne. 2019. “The New Potential of a 21st Century Recorder.” Dissertation, Graz: Universität für Musik und darstellende Kunst. https://www.dropbox.com/s/a06kz2py7r8hmbk/Susanne%20Froehlich_Dissertation_The%20new%20potential%20of%20a%2021st%20century%20recorder.pdf?dl=0.
  • Kolberg, Sverre. 1986. “Alternatieve blokfluit bouw [Alternative Recorder Making].” Bouwbrief 40: 12.
  • Kolberg, Sverre. 1987. Figurazione; Buch II: Eine Einführung in die Blockflötenbau-technik [An Introduction to Recorder Technology]. Oslo: Verlag Super Librium.
  • Kolberg, Sverre. 1989. Ornamental Metrics of Recorders and Traversos. Oslo: Irrefuseable Procedures.
  • Loretto, Alec V. 1990. “A New Angle on Finger Holes.” Recorder Magazine 10 (3): 64–66.
  • Loretto, Alec V. 1998. “Some Basic Recorder Design Problems.” Recorder Magazine 18 (3): 91–92.
  • Mollenhauer, Bernhard. 1998. “So long … (gute Klappen-Tenorblockflöten sind länger) [So Long … (Good Keyed Tenor Recorders are Longer)].” Windkanal, no. 3: 28. http://www.windkanal.de/images/stories/PDF/1998-3/1998-3.pdf.
  • Moonen, Toon. 1989. “Das Umrechnen von Holzblasinstrumenten [Scaling  Woodwind Instruments].” Tibia 14 (1): 347–49.
  • Morgan, Frederick G. 1985. “Old Recorders – Our Design Heritage.” Recorder: Journal of the Victorian Recorder Guild 2: 8–11.
  • Oestreicher, Klaus. 1981. “Zur Geschichte der Baßblockflöte [On the History of the Bass Recorder].” Musik International 35 (12): 794–96.
  • Piepenborke, J.H. 1998. “Reactie: Vierkante blokfluiten [Response: Square recorders].” Bouwbrief 91: 16.
  • Thacker, Jarad W., and Nicholas Giordano. 2021. “Regime Change in the Recorder: Using Navier-Stokes Modeling to Design a Better Instrument.” Journal of the Acoustical Society of America 151 (43). https://asa.scitation.org/doi/full/10.1121/10.0005317.
  • Schmid, Sophie. 2016. “Muteflute – der Blockflötendämpfer [Muteflute – the recorder mute].” Windkanal, no. 4.
  • Thalheimer, Peter. 2020. “Denner for ever – Barocke Blockflötenmodelle und ihre Wechselwirkung mit dem Repertoire [Denner for ever – Baroque recorder models and their interaction with the repertoire.].” Tibia – Online. May 10, 2020. https://www.moeck.com/de/tibia/tibia-online/artikel/?article=2166.
  • Windsor, Colin. 2004. “A Bass Recorder between Round and Square?” https://colin-windsor.github.io/HomePage/bass/bass.htm

Technical Drawings and Plans

  • 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.
  • 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.
  • 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. 1986. “Plan: Vienna Quint Bass Recorder.” FoMRHI Quarterly 43: 23. http://www.fomrhi.org/uploads/bulletins/Fomrhi-043.pdf.
  • Bouterse, Jan. 2008. Fluitenbouw – Handleiding voor het Maken van Houtblaasinstrumenten [Flute-making – Manual for Making Woodwind Instruments]. Alphen aan den Rijn: Published by the Author.
  • Bouterse, Jan. 2008. “Twee eenvoudige blokfluiten en één dwarsfluitje [Two Simple Recorders and a Transverse Flute].” Bouwbrief 128: 24–25. http://www.bouwerskontakt.nl/pdf-bestanden/eenvfluiten.pdf.
  • Bouterse, Jan. 2006. “Vier sopraanblokfluiten met cilindrische boring [Four Soprano Recorders with Cylindrical Bores].” Bouwbrief 122: 22–23.
  • Bouterse, Jan. 2006. “Sopraanblokfluit in c2, cilindrische boring [Soprano Recorder in c2 with a Cylindrical Bore].” De website van Jan Bouterse. http://www.mcjbouterse.nl/artikelen-instrumentenbouw-onderzoek/cursussopraanblokfluit.pdf.
  • Bouterse, Jan. 2005. Dutch Woodwind Instruments and Their Makers, 1660–1760. Translated by Ruth Koenig. The Hague: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis.
  • 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. 2001. “Nederlandse houtblasinstrumenten en hun bouwers, 1660-1760. [Dutch Woodwind Instruments and their Makers, 1660-1760].” Ph.D. dissertation, Utrecht: Universiteit Utrecht.
  • 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.
  • Brach, Manfred. 1993. “Abraham van Aardenberg’s Zeichenmethode (Blokfluiten) [Abraham van Aardenberg’s Drawing Method (Recorders)].” Bouwbrief 68: 3–5.
  • Brown, Adrian. 2006. “Einblick in die Blockflöten des Kunsthistorischen Museums Wien aus der Perspektive des Blockflötenbauers [Insights into the Recorders of the Kunsthistorisches Museum Vienna from the Perspective of a Recorder Maker].” In Die Renaissanceblockflöten der Sammlung alter Musikinstrumente des Kunsthistorischen Museums. Sammlungskataloge de Kunstihistorischen Museums, edited by Beatrice Darmstädter, 97–121. Vienna & Milan: Kunstihistorisches Museum Wien & Edition Skira.
  • Brown, Adrian, and David R.G. Lasocki. 2006. “Renaissance Recorders and Their Makers.” American Recorder 46 (1): 19–31. http://www.instantharmony.net/Music/AR-01-2006.pdf.
  • Cook, Gary. 1997. “Medieval Recorder.” The Woodturner 1 (4): 50–55.
  • Cranmore, Tim. 1984. “Plan: 16th-Century Renaissance Bass Recorder Ex Michael Morrow Collection, Marked !! !!, Bate Collection 0117, Oxford.” FoMRHI Quarterly 35: 22. http://www.fomrhi.org/uploads/bulletins/Fomrhi-035.pdf.
  • Darmstädter, Beatrice, and Adrian Brown. 2006. Die Renaissanceblockflöten der Sammlung alter Musikinstrumente des Kunsthistorischen Museums [The Recorders of the Kunsthistorisches Museum Vienna]. Vol. Bd. 3. Sammlungskataloge des Kunsthistorischen Museums. Milan: Kunstihistorisches Museum Wien / Edition Skira.
  • Gandolfi, Riccardo, and Valter Biella. 2012. “Flauto appartenuto a Angelo Vagge ‘Angin’, ‘Langin’: 1849-1936.” http://www.baghet.it/Flauto%20di%20Montoggio.pdf.
  • Haase, Ronald. 2005. “Computertomographie – eine moderne Methode zur exakten Vermessung von Blockflöten [Computer Tomography – A Modern Method for the Precise Measurement of Recorders].” Tibia 15 (4): 606–13.
  • Haynes, Bruce. 1969. “The Baroque Recorder: A Comparison with Its Modern Counterpart.” Recorder and Music Magazine 2 (11): 364–68.
  • Huene, Friedrich von. 2015. “Plan: Bressan Alto Recorder, Ex Edgar Hunt Collection, Bate Collection 0112, Oxford, 1967.” FoMRHI Quarterly 35 (1984): 18. Accessed November 10. http://www.fomrhi.org/uploads/bulletins/Fomrhi-058.pdf.
  • Lambert, Simon. 1989. “Communication 942: The Use of Drawings of Original Instruments.” FoMRHI Quarterly 57: 15–16. http://www.fomrhi.org/uploads/bulletins/Fomrhi-057.pdf.
  • Li Virghi, Francesco. 1983. “Review of Morgan (1982).” Flauto Dolce 9: 39–40.
  • Loretto, Alec V. 1998. “Make Your Own Medieval Treble Recorder in F.” Recorder Magazine 18 (1): 8–9.
  • Loretto, Alec V. 1996. “Make Your Own Recorder in C at A-440 Hz.” Recorder Magazine 16 (3): 92–95.
  • Martius, Klaus, and Markus Raquet. 2005. “3D-computertomographie: Modernste Dokumentation von Holzblasinstrumentum.” Windkanal, no. 3: 6–12. http://www.windkanal.de/images/stories/PDF/2005-3/Windkanal_2005-3_3DCT-Computerthomographie.pdf.
  • Menkveld, Gerrit. 2000. “De vierkante blokfluiten (van J.H. Piepenbroek) uit Wilp (uitgebreid met tekeningen) [Square Recorders (JH Piepenbroek) from Wilp (Complete with Drawings)].” Bouwbrief 96: 3–7.
  • Menkveld, Gerrit. 2000. “Rectificatie en aanvulling op de `vierkante blokfluiten’ (bb-96) Correction and Additions “Square Recorders’ (BB-96).” Bouwbrief 97: 17–18.
  • Morgan, Frederick G. 1984. “Plan: Bressan Alto Recorder, Ex Edgar Hunt Collection, Bate Collection 0112, Oxford, 1967.” FoMRHI Quarterly 35: 19. http://www.fomrhi.org/uploads/bulletins/Fomrhi-058.pdf.
  • Morgan, Frederick G. 1981. The Recorder Collection of Frans Brüggen. Drawings by Frederick Morgan. Tokyo: Zen-On.
  • Paz, Fernando. 2015. “Planos [Plans].” Fernando Paz, Recorder Player & Maker. Accessed November 5. http://fernandopaz.org/planos/.
  • Puglisi, Filadelfio. 1981. “The 17th-Century Recorders of the Accademia Filarmonica of Bologna.” Galpin Society Journal
  • Rothe, Gisela, ed. 2007. Recorders Based on Historical Models. Fred Morgan – Writings and Memories. / Blockflöten Nach Historischen Vorbildern. Fred Morgan – Texte Und Erinnerungen. Fulda: Mollenhauer.
  • Saunders, Joanne. 2010. “To Research Original Tenor Recorders in Order to Design and Make New Instruments Based on Historical Models.” Winston Churchill Memorial Trust Australia. https://www.churchilltrust.com.au/fellows/detail/3386/joanne+saunders.
  • Sohl, Norman. 1997. “Hall of Woodwinds: Renaissance Recorders.” Museum of Virtual Woodwinds. http://www.sohl.com/vw/Recorders/renrecorders.html.
  • Stroom, Charles. 1985. “Plan: Terton Recorder from Haags Gemeente Museum.” FoMRHI Quarterly 40: 13. http://www.fomrhi.org/uploads/bulletins/Fomrhi-040.pdf.
  • Stroom, Charles. 1991. “Een Terton blokfluit van het Haags Gemeentemuseum (vergeleken met de gegevens van bb-61-19) [A Terton Recorder from the Hague Municipal Museum (Compared with the Data from ‘Dutch recorders of the 18th century Collection Haags Gemeentemuseum’, pp.61-19)].” Bouwbrief 63: 7–8.
  • Thomas, Denis. 2000. “A DIY Square C Bass.” Recorder Magazine 20 (1): 5–6.
  • Wackernagel, Bettina. 2005. Katalogue des Bayerischen Nationalmuseums, XXII. Tutzing: Hans Schneider.
  • Weber, Rainer. 2005. “3D-Computertomographie: Ergänzungen und Anmerkungen zum Artikel in Windkanal 2005-3 [3D-Computer Tomography: Additions and Comments on the Article in Windkanal 2005-3].” Windkanal, no. 4: 12–14. http://www.windkanal.de/images/stories/PDF/2005-4/Windkanal_2005_4_Weber_3D-Computerthomographie.pdf.
  • “Musical Instruments [Technical Drawings, X-Ray Photographs and Computer Tomographies of Instruments from the Germanisches National Museum].” 2013. http://www.gnm.de/fileadmin/redakteure/Museum/pdf/gnm_tz_roentgen.pdf.

Tools

Boring and Drilling

Turning

Windway Cutting

  • Bouterse, Jan. 2015. “Het maken van een kop voor een altblokfluit [Making the Head-joint of an Alto Recorder]. Deel 1, Boren en ruimen van de ‘werkkop’ [Part 1, Drilling and Reaming the Head-joint]. Deel 2, Het draaien van de ‘werkkop’ tot en met het plaatsen van de kop in de kernspleetrekmachine [Part 2, Turning the Head-joint up to and Including its Placement in the Windway-cutting Machine].  Deel 3, Het afdraaien van de ‘werkkop’ [Part 3, Turning the Head-joint].” De website van  Jan Bouterse. Accessed October 20. http://www.mcjbouterse.nl/makenaltblokfluitkop-1a.htm.
  • Cook, Gary. 2010. “Hand Tools for Recorder Making.” Http://members.iinet.net.au/~nickl/tools.html. http://members.iinet.net.au/~nickl/tools.html.
  • Goembel, Luke. 1994. “Reaming Tapered Bores & Making Mortises for Recorders.” Woodwind Quarterly 6: 60–70.
  • Jones, Sid. 2011. “Communication 1950: A Fixture for Cutting Wind-Ways on a Metal Working Lathe.” FoMRHI Quarterly 119: 33–39. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-119/Comm%201950.doc.
  • Kanji, Ricardo, and Jacqueline Sorel. 1994. “Authenticity in Recorder Making.” Woodwind Quarterly 4: 46–56.
  • Lloyd, Barry. 2010. “Communication 1923: Workshop Idea: Shaped File, E.g. for Cutting Windways.” FoMRHI Quarterly 117: 24–25. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-117/Comm%201923.doc.
  • Loretto, Alec V. 2001. “Noise, Windways and Chamfers: Some Recent Computerised Findings.” Recorder Magazine 21a (4): 138–40.
  • Marvin, Bob. 1984. “Communication 532: The Fornication of Recorder Windways.” FoMRHI Quarterly 35: 48–49. http://www.fomrhi.org/uploads/bulletins/Fomrhi-035.pdf.
  • Murphy, Dennis. 1996. “Windways Utilizing a Metal Band.” Woodwind Quarterly 12: 29–29.
  • Peñalver, Guillermo. 1995. ““El agujero 8: Por un uso sistemático [The Eighth Hole: for Systematic Use].” Revista de flauta de pico 1: 18–20.
  • Wynn, Peter. 2011. “Communication 1938: A Very Useful Tool.” FoMRHI Quarterly 118: 48–49. http://www.fomrhi.org/vanilla/fomrhi/uploads/bulletins/Fomrhi-118/Comm%201938.doc.

Voicing

  • Assendelft, Leen van. 1978. “Het labium van de blokfluit, opmerkingen en vragen [The Labium of the Recorder, Comments and Application].” Bouwbrief 10: 11.
  • Boelens, Ben. 1980. “Ervaringen met het corrigeren van te lage blokfluiten volgens Leen van Assendelft [Experiences with Correcting Low Recorders cccording to Leen van Assendelft].” Bouwbrief 17: 29.
  • Bolton, Philippe. 2015. “Opérations d’entretien nécessitant l’extraction du bouchon de la flûte à bec = Maintenance Operations Requiring Removal of the Block.” Philippe Bolton, facteur de flûte à bec. Accessed October 20. http://www.flute-a-bec.com/entretcanal.html.
  • Bolton, Philippe. 2015. “Techniques de réglage avancées pour les bouchons des flûtes à bec = Advanced Block Adjustment.” Philippe Bolton, facteur de flûte à bec. Accessed October 20. http://www.flute-a-bec.com/reglage-bouchon.html.
  • Bolton, Philippe. 1982–1983. “Remplacer le bouchon de sa flûte à bec pour lui donner une nouvelle voix [Replacing the Block of your Recorder in Order to Revoice it].” Flûte à bec, 4: 9–12; 5: 19–21; 6: 15–19 (1983).
  • Bolton, Philippe. 2002. “Communication 1790: High F on the Baroque Alto Recorder (further to Comms. 1742 & 1749).” FoMRHI Quarterly 106: 28–29. http://www.fomrhi.org/uploads/bulletins/Fomrhi-106.pdf.
  • Bouterse, Jan. 2009. “Intoneren van blokfluiten [Recorder Intonation], deel 1:  op zoek naar de perfecte kopie; het probleem van het opmeten van kernspleten [part 1: Looking for the Perfect Copy, the Problem of Measuring Bore Dimensions]; deel 2: speurtocht naar de geheimen van de kernspleet [part 2: Quest for the secret to the window gap], bijlage – het maken van een kernspleet [appendix: How to make the windway].” Bouwbrief, 134: 12–18; 135: 4–12.
  • 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. 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. 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.
  • Brown, Adrian. 1989. The Recorder: A Basic Workshop Manual. 2nd ed. Brighton: Dolce DOL 112.
  • Heide, Geert J. van der. 2015. “Communication 503: Effects Applicable to the Tuning of Instruments with a Conical Bore and Rules of Thumb for the Tuning and Voicing of Historical Wind Instruments.” Translated by Paul Gretton. FoMRHI Quarterly 34: 22–24. Accessed November 14. http://www.fomrhi.org/uploads/bulletins/Fomrhi-034.pdf.
  • Hendriks, Jan. 1979. “Het labium van de blokfluit – enkele opmerkingen [The Labium of the Recorder – A Few Remarks].” Bouwbrief 15: 20–21.
  • Joof, Laura B. 1985. “Voicing and Tuning, and Use of the Tuning Machine.” American Recorder 26 (4): 155–59.
  • Levin, Philip. 1984. “Voicing and Tuning.” American Recorder 25 (3): 105–7.
  • Lievaart, Regina van. 1978. “Reactie op het artikel van Leen van Assendelft (Bouwbrief 10-11) betreffende het labium van blokfluiten [Responses to the Article by van Leen van Assendelft on the Labium of Recorders].” Bouwbrief 10: 14–15.
  • Loretto, Alec V. 1970. “Adjustable Lip on the Recorder.” Recorder and Music Magazine 3 (8): 278–79.
  • Loretto, Alec V. 1997. “Communication 1540: Recorder Voicing.” FoMRHI Quarterly 89: 29–35. http://www.fomrhi.org/uploads/bulletins/Fomrhi-089.pdf.
  • Loretto, Alec V. 2001. “Communication 1763: Double Chamfers.” FoMRHI Quarterly 104: 14–16. http://www.fomrhi.org/uploads/bulletins/Fomrhi-104.pdf.
  • Loretto, Alec V. 1973. “Recorder Modifications: In Search of the Expressive Recorder.” Early Music, 1 (2): 107–9, (3): 147–51, (4): 229–31.
  • Loretto, Alec V. 1985. “Improvements or Modifications – Which?” Recorder and Music Magazine 8 (8): 236–38.
  • Loretto, Alec V. 1986. “A Reply to Dr Hermann Moeck.” Recorder and Music Magazine 8 (11): 334–35.
  • Loretto, Alec V. 1973. “Experiments at Celle.” Recorder and Music Magazine 4 (5): 156–57.
  • Loretto, Alec V. 1997. “A Few Words about Blocks.” Recorder Magazine 17 (1): 32.
  • Loretto, Alec V. 2001. “Noise, Windways and Chamfers: Some Recent Computerised Findings.” Recorder Magazine 21a (4): 138–40.
  • Madge, Peter N. 2008. “Communication 1816: Modification of Recorder Blocks to Improve Sound Production.” FoMRHI Quarterly 110: 9–19. http://www.fomrhi.org/uploads/bulletins/Fomrhi-110.pdf.
  • Marvin, Bob. 1978. “Communication 146: Nuts, Bolts, and Plugs.” FoMRHI Quarterly 12: 42. http://www.fomrhi.org/uploads/bulletins/Fomrhi-012.pdf.
  • Marvin, Bob. 1985. “Communication 649: A Flexible Recorder.” FoMRHI Quarterly 41: 21. http://www.fomrhi.org/uploads/bulletins/Fomrhi-041.pdf.
  • Read, Robin. 1966. “Recorder Tone.” Recorder and Music Magazine 2 (1): 7–9.
  • Stern, Claudio. 1979. “A Brief Workshop Manual for Recorders.” Early Music 7 (3): 359–65.
  • Stroom, Charles. 1983. “Het maken van blokken voor blokfluiten [Making Blocks for Recorders].” Bouwbrief 31: 38–40.
  • Taylor, Dale. 2000. “Putting Recorders and Their Players to the Test.” American Recorder 41 (5): 9–13.
  • Willoughby, Andrew A. 1984. “Communication 514: Recorder Voicing: Answers to My Questions.” FoMRHI Quarterly 34: 57–69. http://www.fomrhi.org/uploads/bulletins/Fomrhi-034.pdf.
  • Willoughby, Andrew A. 1985. “Das Intonieren von Blockflöten – Antworten auf einen Fragebogen [The voicing of recorders: replies to a questionnaire].” Tibia 10 (1): 245–52. http://www.moeck.com/uploads/tx_moecktables/1985-1.pdf.
  • Woods, Timothy. 1985. “Communication 654: Recorder Voicing Structures.” FoMRHI Quarterly 41: 32–34. http://www.fomrhi.org/uploads/bulletins/Fomrhi-041.pdf.
  • Zwetsloot, Harry. 1980. “Losse commentaren (snaar, bladvormen van luit, blokfluit labium, gamba bouw) [Miscellaneous Comments (Strings, Lute Bowl Shapes, Recorder Labium, Viol Construction).” Bouwbrief 19: 25.

Tuning

  • Allain-Dupré, Philippe. 1983. “Lettre ouverte sur la justesse de la flûte à bec en 1983 [Open letter on the justness of the recorder in 1983].” Flûte à bec & instruments anciens 9: 9–12.
  • Assendelft, Leen van. 1979. “Het corrigeren van te lage blokfluiten [Correcting (the Tuning of) Low Recorders].” Bouwbrief 15: 16.
  • Barbour, Murray J. 1953. Tuning and Temperament: A Historical Survey. East Lansing: Michigan State College Press.
  • Blezinger, Stephen. 2001–2002. “Stimmungskorrekturen an der Blockflöte” [Tuning Corrections on the Recorder].” Windkanal, 4: 12–15 (2001); 1: 13–17 (2002). http://www.windkanal.de/en/archiv.
  • Boelens, Ben. 1980. “Ervaringen met het corrigeren van te lage blokfluiten volgens Leen van Assendelft [Experiences with Correcting Low Recorders cccording to Leen van Assendelft].” Bouwbrief 17: 29.
  • Bolton, Philippe. 2015. “Techniques de réglage d’accord sur la flûte à bec = Recorder Tuning Adjustments.” Philippe Bolton, facteur de flûte à bec. Accessed October 20. http://www.flute-a-bec.com/accord.html.
  • Bouterse, Jan. 1992. Die Blockflöte: Tips für Anschaffung und Pflege, Stimmkorrekturen, Reparaturen [The Recorder: Tips on Purchase and Maintenance, Tuning Adjustments, Repairs]. Edition Moeck 4058. Celle: Moeck.
  • Brown, Adrian. 1989. The Recorder: A Basic Workshop Manual. 2nd ed. Brighton: Dolce DOL 112.
  • Clayson, Richard, and Andrew Garrett. 1980. Tuning Compass (with Booklet). Lyminge.
  • Cranmore, Tim. 2008. “Recorder Maintenance … and Simple Tuning and Repairs.” http://www.fippleflute.co.uk/4_courses/4_maintenance.htm.
  • Cranmore, Tim. 2009. Obedience Training for Recorders. Hebden Bridge: Peacock Press.
  • Davenport, Mark. 1993. “Recorder Pitch: Always Throwing Us a Curve.” American Recorder 34 (21): 7–10.
  • Devie, Dominique. 1990. Le tempérament musical: Philosophie, histoire, theorie et pratique. Societe de musicologie du Languedoc. http://musicreprints.free.fr/tm/tm.pdf.
  • Duffin, Ross W. 2008. How Equal Temperament Ruined Harmony and Why You Should Care. New York: W.W. Norton & Co.
  • Finn, Matt, Kyle Finn, and Steve Roktika. 2012. “Cleartune.” Bitcount. http://www.bitcount.com/.
  • Gebler, Jim. 1995–1996. “Diagnosing Woodwind Bores, Parts 1-3.” Woodwind Quarterly, 10: 68 (1995); 11: 48; 12: 46–60 (1996).
  • Goodacre, Julian. 1995. “Communication 1375: Undercutting Small Diameter Finger Holes on Woodwind Instruments: Goodacre’s Razor.” FoMRHI Quarterly 80: 41–42. http://www.fomrhi.org/uploads/bulletins/Fomrhi-080.pdf.
  • Green, David H. 1990. “Recorder Tuning and Intonation, the Bare Acoustical Facts of Life.” Chrestologia, Febuary. https://aswltd.com/tuning.htm.
  • Hailperin, Paul. 1987. “Communication 1505. Goodacre’s Razor and Undercutting Woodwind Finger Holes.” FoMRHI Quarterly 87: 15–16. http://www.fomrhi.org/uploads/bulletins/Fomrhi-087.pdf.
  • Haynes, Bruce. 1994. “ Pitch in Northern Italy in the 16th and 17th Centuries.” Recercare 6: 41–60.
  • Haynes, Bruce. 1991. “Beyond Temperament: Non-Keyboard Intonation in the 17th and 18th Centuries.” Early Music 19 (3): 357–81. http://music.indiana.edu/departments/academic/early-music/files/beyond-temperament-bruce-hayes.
  • Haynes, Bruce. 1986. “Communication 702: Temperamento per Commune Opinion Perfettisimo: 18th-Century Tuning for Singers and Orchestral Instruments.” FoMRHI Quarterly 43: 56–68. http://www.fomrhi.org/uploads/bulletins/Fomrhi-043.pdf.
  • Haynes, Bruce. 2002. A History of Performing Pitch. The Story of “A.” Lanham MD: Scarecrow Press.
  • Heide, Geert J. van der. 1991. “Bespreking: Jan Bouterse; De blokfluit, handleiding voor aanschaf, onderhoud, bijstemmen en kleine reparaties [Discussion: Jan Bouterse; The Recorder, Guide to Purchase, Maintenance, Tuning and Minor Repair].” Bouwbrief 61: 20.
  • Heide, Geert J. van der. 2015. “Communication 503: Effects Applicable to the Tuning of Instruments with a Conical Bore and Rules of Thumb for the Tuning and Voicing of Historical Wind Instruments.” Translated by Paul Gretton. FoMRHI Quarterly 34: 22–24. Accessed November 14. http://www.fomrhi.org/uploads/bulletins/Fomrhi-034.pdf.
  • Huene, Friedrich von. 1971. “A Plea for Standard Pitch.” American Recorder 12 (3): 77–78.
  • Hunt, Edgar H. 1980. “Questions of Pitch.” Recorder and Music 6 (10): 292–93.
  • Hunt, Edgar H., and Friedrich von Huene. 1982. “A Question of Pitch Again.” Recorder and Music 7 (5): 119–20.
  • Joof, Laura B. 1985. “Voicing and Tuning, and Use of the Tuning Machine.” American Recorder 26 (4): 155–59.
  • Jorgenson, Owen H. 1977. Tuning the Historical Temperaments by Ear. Marquette: Northen Michigan University Press.
  • Jorgenson, Owen H. 1991. Tuning: Containing the Perfection of Eighteenth-Century Temperament; the Lost Art of Nineteenth Century Temperament; and the Science of Equal Temperament., Complete with Instructions for Aural and Electronic Tuning. East Lansing: Michigan State University Press.
  • Kanter, Jason. 2015. “About Temperaments.” Rolling Ball. Accessed October 14. http://www.rollingball.com/images/HT.pdf.
  • Kottick, Edward L. 1975. Tone and Intonation on the Recorder. New York: McGinnis & Marx.
  • Levin, Philip. 1984. “Voicing and Tuning.” American Recorder 25 (3): 105–7.
  • Lindley, Mark. 1984. “Temperament.” In The New GROVE Dictionary of Music and Musicians, edited by Stanley J. Sadie, 3:540–55. London: Macmillan.
  • Lloyd, Llewellyn S., and Hugh Boyle. 1979. Intervals, Scales and Temperaments. 2nd ed. London: Macdonald & Co.
  • Loretto, Alec V. 1990. “Yet More on Tuning Recorders.” Recorder Magazine, 10 (1): 2–4, (2): 30–31.
  • Loretto, Alec V. 1996. “Tuning Your Square Medieval Recorder.” Recorder and Music 16 (4): 130–32.
  • Loretto, Alec V. 2000. “Communication 1740: Tuning Recorders by Modifying the Bore.” FoMRHI Quarterly 102: 11–14. http://www.fomrhi.org/uploads/bulletins/Fomrhi-102.pdf.
  • Loretto, Alec V. 1998. “Recorder Fingerings.” FoMRHI Quarterly 90: 30. http://www.fomrhi.org/uploads/bulletins/Fomrhi-090.pdf.
  • Marvin, Bob. 1985. “Communication 652: Tuning Recorders.” FoMRHI Quarterly 41: 23–24. http://www.fomrhi.org/uploads/bulletins/Fomrhi-041.pdf.
  • Marvin, Bob. 1985. “Commentaar op het Commentaar op ‘Het intoneren van blokfluiten.’” Bouwbrief 37: 16.
  • Meyer, Jürgen, and Klaus Wogram. 1984. “Zur Intonation bei Recordflöten [On the intonation of recorders].” Acta Acustica united with Acustica 55 (3).
  • Morgan, Frederick G. 1987. “A Players Guide to the Recorder.” Recorder: Journal of the Victorian Recorder Guild, 6: 1–4; 7: 10–16.
  • Nieuwhof, Ben. 1992. “Het gebruik van een PC om een blokfluit of andere fluiten te stemmen [Using a PC to Tune a Recorder or Other Duct-flute].” Bouwbrief 64: 3–5.
  • Noonan, Dan. 1997. “Woodwind tone hole undercutters.” Woodwind Quarterly 14: 56–60.
  • Richardson, Paul. 1995. “Afinacion de una flauta de pico [Tuning a Recorder].” Revista de flauta de pico 3: 7–10.
  • Sandner, Erich. 1980. “Irrtum bei Blockflöten?? Steht die Sopran- und Tenorblockflöte in B? [An Error in Recorders?? Are Soprano and Tenor Recorder Pitched in B-flat?].” Das Musikinstrument :internat ionales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 29 (6): 906, 908.
  • Segerman, Ephraim. 1992. “Communication 1100: Early 18th Century English Pitches, Especially ‘Consort Flute Pitch’ and ‘Church Pitch of F.” FoMRHI Quarterly 67: 54–56. http://www.fomrhi.org/uploads/bulletins/Fomrhi-067.pdf.
  • Segerman, Ephraim. 1998. “Communication 1842: The Historical Basis of the Modern Early Music Pitch Standard a’=415.” FoMRHI Quarterly 111: 37–49. http://www.fomrhi.org/uploads/bulletins/Fomrhi-074.pdf.
  • Stern, Claudio. 1979. “A Brief Workshop Manual for Recorders.” Early Music 7 (3): 359–65.
  • Thalheimer, Peter. 2010. “Eng oder weit, kurz oder lang ? Blockflöten-mensuren und ihre Auswirkungen auf Tonumfang und Griffsystem [Narrow or Wide, Short or Long? Recorder Scaling and its Effect on Tonal Range and Fingering System].” Tibia 35 (1): 3–11.
  • Van Gele, Geert. 2019. Thoughts on the Recorder. Borgerhout: InterCulturate. http://www.kattenbergrecordings.be/geertvangele/Thoughts.html.
  • Willoughby, Andrew. 1985. “Het intoneren van blokfluiten – antwoorden op mijn vragen (vert. de Vries, van Marissing, Nieuwhof) (uitgebreid) [Tuning of Recorders – Answers to my Questions (from De Vries, van Marissing, Nieuwhof).” Bouwbrief 37: 11–14.
  • Wyatt, Theo. 1966. “Tuning Your Own Recorder.” Recorder and Music Magazine, 2 (1): 11–12, (2): 37–39.
  • Wyatt, Theo. 1987. “Measuring Breath Pressure.” American Recorder 28 (2): 57–59.
  • Wyatt, Theo. 1972. “A Note on Intonation.” Recorder and Music Magazine 4 (1): 9.
  • “Tool Chest: Ferree’s Tone Hole Undercutting Tools.” 1995. Woodwind Quarterly 9: 79.

Finishing and Decorating

  • Bemelmans, Arno. 1981. “Het afwerken en opbergen van de buitenkant van een oude blokfluit [The Finishing and Preservation of the Exterior of an Old Recorder].” Bouwbrief 21: 38.
  • Bouterse, Jan. 1996. “More on Nitric Acid Staining.” Woodwind Quarterly 10: 12.
  • Colebrook, Andrew. 2001. “Communication 1764: A Synthetic Finish for Recorder Bores.” FoMRHI Quarterly 104: 16. http://www.fomrhi.org/uploads/bulletins/Fomrhi-104.pdf.
  • Dessy, Raymond. 1995. “More on Nitric Acid Staining.” Woodwind Quarterly 10: 12.
  • Dessy, Ray. 1995. “A Primer for Acid Wood Staining.” Woodwind Quarterly 9: 74–78.
  • Hess, Stanley. 1968. “An Apology for the Carved Recorder.” American Recorder 9 (2): 43–47.
  • Hess, Stanley. 1980. “Tone Building, Figuratively Speaking, with the Baroque Recorder.” American Recorder 21 (2): 55–59.
  • Mollenhauer, Bernhard. 2016. “Die Exilent-Blockflöte [The Exilent recorder].” Windkanal, no. 3.
  • Hirsch, Scott. 1995. “Acid Staining with Rod Cameron.” Woodwind Quarterly 9: 70–73.
  • Mollenhauer, Bernhard. 2016. “Die Exilent-Blockflöte [The Exilent recorder].” Windkanal, no. 3.
  • Owen, David E. 1994. “Communication 1226: Some Historical Notes on Acid Staining.” FoMRHI Quarterly 74: 53. http://www.fomrhi.org/uploads/bulletins/Fomrhi-074.pdf.

Keywork

  • Ashton, Don. 1968. “In Defence of Keywork.” Recorder and Music Magazine 2 (10): 313.
  • Ashton, Don. 1970. “The Value of Keywork.” Recorder and Music Magazine 3 (5): 159–60.
  • Bigio, Robert. 1980. “Communication 254: Making Woodwind Keys.” FoMRHI Quarterly 18: 40–44. http://www.fomrhi.org/uploads/bulletins/Fomrhi-018.pdf.
  • Borsch, Sebastian. 2000. “Eine weiteres Klappenpatent für die Blockflöte [A Further Key Patent for the Recorder].” Tibia 25 (4): 304.
  • Carmichael, Craig. 1999. “Dynamics—and Tremolo, Too!” Recorder Magazine 19 (4): 131–33.
  • Dolmetsch, Carl F. 1986. “High F Sharp.” Recorder and Music Magazine 8 (9): 275.
  • Fröhlich, Susanne. 2019. “The New Potential of a 21st Century Recorder.” Dissertation, Graz: Universität für Musik und darstellende Kunst. https://www.dropbox.com/s/a06kz2py7r8hmbk/Susanne%20Froehlich_Dissertation_The%20new%20potential%20of%20a%2021st%20century%20recorder.pdf?dl=0.
  • Halbig, H. 1924. “Geschichte der Klappen en Flöten und Rohrblattinstrumenten bis zum Beginn des 18. Jahrhunderts [The History of Keys on Woodwind Instruments to the Beginning of the 18th Century].” Archiv für Musikwissenschaft 6: 1–53.
  • Hunt, Edgar H. 1961. “Recorder Fingerings.” Galpin Society Journal 14: 75–76.
  • Juritz, John W.F. 1960. “Recorder Fingerings.” Galpin Society Journal 13: 91–92.
  • Kempass, Dieter. 1989. “Analyse und Fertigung eines Klappensatzes für Blockflöten [Analysis and Manufacture of a Key System for Recorders].” Diplomarbeit, Braunschweig: Technische Universität.
  • Moeck, Hermann A. 1988. “Zum 100. Mal die völlig beklappte Blockflöte erfunden… [For the 100th Time, the Fully Keyed Recorder Invented…].” Tibia 13 (4): 293. http://www.moeck.com/uploads/tx_moecktables/1988-4.pdf.
  • Mollenhauer, Bernhard. 1998. “So long … (gute Klappen-Tenorblockflöten sind länger) [So Long … (Good Keyed Tenor Recorders are Longer)].” Windkanal, no. 3: 28. http://www.windkanal.de/images/stories/PDF/1998-3/1998-3.pdf.
  • Peñalver, Guillermo. 1995. ““El agujero 8: Por un uso sistemático [The Eighth Hole: for Systematic Use].” Revista de flauta de pico 1: 18–20.
  • Reinhardt, Bruno. 1984. “La flûte à bec: des clés pour le futur! [The Recorder, Keys for the Future].” Flûte à bec & instruments anciens 15: 2–3.
  • Strathmann, Arnfred. 1989. “Flöte (Blockflöte mit Klappensystem) [Flute (recorder with key system)].” Musik International 43: 138–39.
  • Thomas, Denis. 1999. “Modernising a Plastic Bass.” Recorder Magazine 18 (4): 133–34.
  • Thomas, Denis. 2001. “Further Modifications to a Plastic Bass.” Recorder Magazine 21 (4): 135–37.
  • Thomas, Denis. 1995. “High Notes and Harmonics: A New Bell-Key Design?” Recorder Magazine 15 (4): 133–34.
  • Ventzke, Karl. 1965. “Kommt die Blockflöte nach dem Boehm-System? [Could there be a Boehm System for the Recorder?].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 3: 441.
  • Waitzman, Daniel. 1968. “The Bell Key.” Recorder and Music Magazine 2 (10): 324–27.
  • Waitzman, Daniel. 1969. “Bell-Key Probe.” Recorder and Music Magazine 3 (3): 86.

Modifying

  • Blezinger, Stephen. 2001–2002. “Stimmungskorrekturen an der Blockflöte” [Tuning Corrections on the Recorder].” Windkanal, 4: 12–15 (2001); 1: 13–17 (2002). http://www.windkanal.de/en/archiv.
  • Bolton, Philippe. 2002. “Communication 1790: High F on the Baroque Alto Recorder (further to Comms. 1742 & 1749).” FoMRHI Quarterly 106: 28–29. http://www.fomrhi.org/uploads/bulletins/Fomrhi-106.pdf.
  • Bouterse, Jan. 1994. “Vergroten en verkleinen van blokfluiten [Scaling and Resizing Recorders].” Bouwbrief 73: 7–11.
  • Bouterse, Jan. 1994. “Scaling and Making New Joints for Recorders.” Woodwind Quarterly 4: 80–90.
  • Duggan, Peter T. 1988. “A Practice Baroque Recorder.” Recorder and Music Magazine 9 (5): 118–20.
  • Fader, Bruce, and Raoul J. Fajardo. 1971. “Improving the Tone of Plastic Recorders.” American Recorder 12 (2): 41–43.
  • Fajardo, Raoul J. 1970. “How to Improve Your Recorder.” American Recorder 11 (3): 91–92.
  • Fajardo, Raoul J. 1969. “Thumb Hole Reinforcement for the Recorder.” American Recorder 10 (2): 61.
  • Glassgold, Cook. 1962. “Thoughts on Thumb Rests.” American Recorder 3 (2): 21.
  • Levin, Philip. 1984. “Voicing and Tuning.” American Recorder 25 (3): 105–7.
  • Loretto, Alec V. 1970. “Adjustable Lip on the Recorder.” Recorder and Music Magazine 3 (8): 278–79.
  • Loretto, Alec V. 2000. “Communication 1705: Removing and Replacing Recorder Blocks.” FoMRHI Quarterly 99: 18–10. http://www.fomrhi.org/uploads/bulletins/Fomrhi-099.pdf.
  • Loretto, Alec V. 2000. “Communication 1740: Tuning Recorders by Modifying the Bore.” FoMRHI Quarterly 102: 11–14. http://www.fomrhi.org/uploads/bulletins/Fomrhi-102.pdf.
  • Loretto, Alec V. 2001. “Communication 1749: Comment on Communication 1742.” FoMRHI Quarterly 103: 10–11. http://www.fomrhi.org/uploads/bulletins/Fomrhi-103.pdf.
  • Loretto, Alec V. 2000. “Communication 1741: Recorder Dynamics.” FoMRHI Quarterly 102: 15. http://www.fomrhi.org/uploads/bulletins/Fomrhi-102.pdf.
  • Madge, Peter N. 2009. “Communication 1887: Pinched Notes; the Thumb Hole of the Recorder.” FoMRHI Quarterly 114: 16–18. http://www.fomrhi.org/uploads/bulletins/Fomrhi-114.pdf.
  • Madge, Peter N. 2008. “Communication 1816: Modification of Recorder Blocks to Improve Sound Production.” FoMRHI Quarterly 110: 9–19. http://www.fomrhi.org/uploads/bulletins/Fomrhi-110.pdf.
  • Madgwick, Paul, and Alec V. Loretto. 1996. “Communication 1486: Old Recorders for New (recorder Patents).” FoMRHI Quarterly 85: 35–44. http://www.fomrhi.org/uploads/bulletins/Fomrhi-085.pdf.
  • Martin, John. 1992. “Flattening Your Recorder.” Recorder: Journal of the Victorian Recorder Guild 15: 8.
  • Moeck, Hermann A. 1997. “Blockflötenmundstück mit Frequenzregler [Recorder Windways with Turbulence Regulators].” Tibia 22 (3): 323.
  • Moeck, Hermann A. 1986. “Reply to Loretto.” Recorder and Music Magazine 8 (9): 275.
  • Rothe, Gisela. 2002. “Helder Blockflöten: Konstruktion & Bauweise [Helder Recorders: Construction & Manufacture].” Windkanal, no. 2: 25–27. http://www.windkanal.de/images/stories/PDF/2002-2/Windkanal_2002-02_S22-28.pdf.
  • Stephenson, N. 1987. “Memo from Wales: Lecturers Hit the Right Note with Spit-Free Recorder.” The Recorder: Australia’s Journal of Recorder & Early Music 6: 34.
  • Thomas, Denis. 1999. “Modernising a Plastic Bass.” Recorder Magazine 18 (4): 133–34.
  • Thomas, Denis. 2001. “Further Modifications to a Plastic Bass.” Recorder Magazine 21 (4): 135–37.
  • Ventzke, Karl. 1965. “Kommt die Blockflöte nach dem Boehm-System? [Could there be a Boehm System for the Recorder?].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 3: 441.

Maintaining

  • Beckwith, Gene. 1966. “Cleaning and Oiling.” Woodwind Quarterly 12: 7–10.
  • Blood, Brian. 2001. “Tips and Maintenance: Symptoms and solutions—Does Your Recorder Need Servicing?” Cinnamon Sticks 2 (2): 20–21.
  • Bolton, Philippe. 2015. “Opérations d’entretien nécessitant l’extraction du bouchon de la flûte à bec = Maintenance Operations Requiring Removal of the Block.” Philippe Bolton, facteur de flûte à bec. Accessed October 20. http://www.flute-a-bec.com/entretcanal.html.
  • Bolton, Philippe. 2015. “Conseils d’entretien pour les flütes à bec en bois = Maintenance Tips for Wooden Recorders.” Philippe Bolton, facteur de flûte à bec. Accessed October 20. http://www.flute-a-bec.com/modemp.html.
  • Bouterse, Jan. 1992. Die Blockflöte: Tips für Anschaffung und Pflege, Stimmkorrekturen, Reparaturen [The Recorder: Tips on Purchase and Maintenance, Tuning Adjustments, Repairs]. Edition Moeck 4058. Celle: Moeck.
  • Brown, Adrian. 1989. The Recorder: A Basic Workshop Manual. 2nd ed. Brighton: Dolce DOL 112.
  • Brown, Adrian. 1997–1998. “Cuidado y maintenimiento de la flauta de pico [Care and Maintenance of the Recorder (published in two parts).” Revista de flauta de pico, 8: 15–18 (1997); 10: 17–21 (1998).
  • Brown, Adrian. 1990. “Pflege der Blockflöte und kleinere Reparaturen [Care of the Recorder and Small Repairs].” Tibia 15 (2): 106–11. http://www.moeck.com/uploads/tx_moecktables/1990-2.pdf.
  • Budgenhagen, Bärbel. 2000. “Von Husten, Schnupfen, Heiserkeit. …” [On coughing, Sniffing, Hoarseness. … ].” Windkanal, no. 2: 22–23. http://www.windkanal.de/de/archiv/62.
  • Burford, Freda. 1989. “Coping with Condensation.” Recorder and Music Magazine 9 (9): 249.
  • Butler, Brian. 1997. “Sloppy Joints on Plastic Recorders.” Recorder Magazine 17 (2): 74.
  • Cranmore, Tim. 2008. “Recorder Maintenance … and Simple Tuning and Repairs.” http://www.fippleflute.co.uk/4_courses/4_maintenance.htm.
  • Cranmore, Tim. 2009. Obedience Training for Recorders. Hebden Bridge: Peacock Press.
  • Dessy, Ray. 1997. “Wet Your Whistle.” American Recorder 38 (1): 14–15, 30–31.
  • Duhot, Jean-Joël. 1986. “Entretenir une flûte: Jean-Joël Duhot a rencontré Claire Soubeyran [Recorder Maintenance: Jean-Joël Duhot has met Claire Soubeyran].” Flüte à bec & instruments anciens 20: 3–7.
  • Duhot, Jean-Joël. 1987. “S.O.S. flûte à bec: Jean-Joël Duhot a rencontré Irène Oki [SOS Recorder: Jean-Joël Duhot has Met Irène Oki].” Flûte à bec & instruments anciens 22: 2–5.
  • Everingham, John. 2015. “Information Page [Expert Advice on a Wide Range of Issues to Do with Maintenance and Care of Recorders].” Saunders Recorders. http://www.saundersrecorders.com/info2.htm.
  • Fader, Bruce. 1970. “Cork Joints Affect Your Playing.” American Recorder 11 (2): 51–53.
  • Faeti, Paolo. 2006. “Microbiological Issues in Recorder Playing and Maintenance.” ERTA Newsletter, no. January. http://members.iinet.net.au/~nickl/articles/disinfect_en.pdf.
  • Fajardo, Raoul J. 1970. “How to Improve Your Recorder.” American Recorder 11 (3): 91–92.
  • Geiger, Georg. 1992. “The Compleat Recorder Para-Medic; Or, How to Put a Recorder in Trim While Keeping Your Sanity, Parts 1-2.” The Recorder: Australia’s Journal of Recorder and Early Music, 15: 19–23; 16: 18–22.
  • Heide, Geert J. van der. 1991. “Bespreking: Jan Bouterse; De blokfluit, handleiding voor aanschaf, onderhoud, bijstemmen en kleine reparaties [Discussion: Jan Bouterse; The Recorder, Guide to Purchase, Maintenance, Tuning and Minor Repair].” Bouwbrief 61: 20.
  • Hunt, Edgar H. 1986. “Looking after Your Recorder.” Recorder & Music 7 (6-8): 144–47; 168; 196–97.
  • Jacobs, Guido. 1986. “Enkele tips voor het onderhoud van historische houtblazers [A few tips on the maintenance of historical woodwinds].” Musica Antiqua 3 (1): 13–14, 19–20.
  • Karp, Cary. 1982. “Storage Climates for Musical Instruments.” Early Music 10 (4): 469–76.
  • Kottick, Edward L. 1975. Tone and Intonation on the Recorder. New York: McGinnis & Marx.
  • Levin, Philip. 1984. “Voicing and Tuning.” American Recorder 25 (3): 105–7.
  • Levin, Philip. 1994. “Recorder Moisture Problems—and How Best to Deal with Them.” American Recorder 35 (3): 12–13.
  • Levin, Philip. 1982. “Joints (instrument Care).” American Recorder 23 (3): 117.
  • Loretto, Alec V. 1989. “Self Inflicted Injuries and the Average Recorder Player.” Recorder and Music Magazine 8 (2): 34–35.
  • Loretto, Alec V. 2000. “Communication 1705: Removing and Replacing Recorder Blocks.” FoMRHI Quarterly 99: 18–10. http://www.fomrhi.org/uploads/bulletins/Fomrhi-099.pdf.
  • Loretto, Alec V. 2006. “Problems with Cork Joints.” Recorder Magazine 26 (3): 91.
  • Martinet, Inés, and Paul Richardson. 1996. “Reposición del hilo en las conexiones de las flautas [Replacing the thread on the joints of recorders].” Revista de flauta de pico 4: 19–20.
  • Muskett, Michael. 1972. “On Wetting One’s Whistle.” Recorder and Music Magazine 4 (2): 46, 54.
  • Paterson, Scott. 1990. Recorder Care. American Recorder Society Chapter Information Packet 1. Littleton: ARS Education Committee. 0003-0724.
  • Richardson, Paul. 1995. “El arte del maintenimiento de una flauta de pico” [The Art of Maintaining a Recorder].” Revista de flauta de pico 1: 6–7.
  • Saunders, Gordon. 1979. “Recorder Care and Playing-In.” Continuo 3 (3): 4–9.
  • Spoelstra, Mark. 1984. “Anti-condens middel voor de blokfluit [Anti-condensation Agent for the Recorder].” Bouwbrief 33: 30.
  • Stern, Claudio. 1979. “A Brief Workshop Manual for Recorders.” Early Music 7 (3): 359–65.
  • Van Gele, Geert. 2019. Thoughts on the Recorder. Borgerhout: InterCulturate. http://www.kattenbergrecordings.be/geertvangele/Thoughts.html.
  • Willetts, Carl. 1983. “Communication 470: Moisture Blocking of Fipple Flutes.” FoMRHI Quarterly 32: 29. http://www.fomrhi.org/uploads/bulletins/Fomrhi-032.pdf.
  • Wyatt, Theo. 1972. “Recorder Surgery.” Recorder and Music Magazine 4 (3): 86–87.
  • “Some Notes on Intonation.” 1964. Recorder and Music Magazine 1 (6): 187.
  • “Condensation. (What’s Wrong with My Recorder?).” 1964. Recorder and Music Magazine 1 (4): 105.
  • “Looking after the Joints.” (What’s Wrong with My Recorder?).” 1964. Recorder and Music Magazine 1 (5): 138

Oils and Oiling

Repairing

  • Bolton, Philippe. 2015. “Techniques de réglage avancées pour les bouchons des flûtes à bec = Advanced Block Adjustment.” Philippe Bolton, facteur de flûte à bec. Accessed October 20. http://www.flute-a-bec.com/reglage-bouchon.html.
  • Bouterse, Jan. 1992. Die Blockflöte: Tips für Anschaffung und Pflege, Stimmkorrekturen, Reparaturen [The Recorder: Tips on Purchase and Maintenance, Tuning Adjustments, Repairs]. Edition Moeck 4058. Celle: Moeck.
  • Butler, Brian. 1997. “Sloppy Joints on Plastic Recorders.” Recorder Magazine 17 (2): 74.
  • Cranmore, Tim. 2008. “Recorder Maintenance … and Simple Tuning and Repairs.” http://www.fippleflute.co.uk/4_courses/4_maintenance.htm.
  • Cranmore, Tim. 2009. Obedience Training for Recorders. Hebden Bridge: Peacock Press.
  • Deitch, D. 1994. “Repairing Tenon Sockets.” Woodwind Quarterly 5: 55.
  • Geiger, Georg. 1992. “The Compleat Recorder Para-Medic; Or, How to Put a Recorder in Trim While Keeping Your Sanity, Parts 1-2.” The Recorder: Australia’s Journal of Recorder and Early Music, 15: 19–23; 16: 18–22.
  • Heide, Geert J. van der. 1991. “Bespreking: Jan Bouterse; De blokfluit, handleiding voor aanschaf, onderhoud, bijstemmen en kleine reparaties [Discussion: Jan Bouterse; The Recorder, Guide to Purchase, Maintenance, Tuning and Minor Repair].” Bouwbrief 61: 20.
  • Levin, Philip. 1982. “Joints (instrument Care).” American Recorder 23 (3): 117.
  • Loretto, Alec V. 2000. “Communication 1705: Removing and Replacing Recorder Blocks.” FoMRHI Quarterly 99: 18–10. http://www.fomrhi.org/uploads/bulletins/Fomrhi-099.pdf.
  • Loretto, Alec V. 2006. “Problems with Cork Joints.” Recorder Magazine 26 (3): 91.
  • Miller, Theo. 1981. “Communication 353: Restoration of a Recorder Edge.” FoMRHI Quarterly 24: 18–19. http://www.fomrhi.org/uploads/bulletins/Fomrhi-024.pdf.
  • Saska, Ronald. 1987. A Guide to Repairing Woodwinds. Cherry Hill, N.J: Roncorp Publications.
  • Stern, Claudio. 1979. “A Brief Workshop Manual for Recorders.” Early Music 7 (3): 359–65.
  • Wyatt, Theo. 1972. “A Note on Intonation.” Recorder and Music Magazine 4 (1): 9.
  • “Pinning Cracks in Woodwinds.” 1993. Woodwind Quarterly 3: 72.
  • “What’s Wrong with My Recorder?” 1964. Recorder and Music Magazine 1 (7): 212

Restoring

  • Darmstädter, Beatrice, and Wiebke Lüders. 2008. “Über die Wiederherstellung eines bedeutsamen Blockflötenköchers [The Restoration of a Historically Significant Recorder Case].” Tibia 33 (2): 95–105.
  • Dolmetsch, Carl F. 1968. “Which Way to Turn the Clock?” Recorder and Music Magazine 2 (9): 283–84.
  • Dolmetsch, Carl F. 1976. “Cataclysms and the Chester Recorders.” Recorder and Music 5 (6): 192–93.
  • Duhot, Jean-Joël. 1986. “Facture, restauration, recherche: Claire Soubeyran [Manufacture, Restoration, Research: Claire Soubeyran].” Flüte à bec & instruments anciens 17: 18–21.
  • Karp, Cary, ed. 1992. The Conservation and Technology of Musical Instruments: A Bibliographical Supplement to Art and Archaeology Technical Abstracts, Volume 28. Marina del Rey, CA: Getty Conservation Institute.
  • Li Virghi, Francesco. 2000. “Restauro o non restauro?” [To Restore or Not?].” In Il flauto dolce: Dallo scolaro al virtuoso [The Recorder: From Student to Virtuoso], edited by Nicolucci Vittorio. Bologna: UT Orpheus Edizioni.
  • Moonen, Toon. 1997. “Restauratie van Terton sopraan blokfluit (in Haags Gemeentemuseum) [Restoration of Terton Soprano Recorder (in The Hague Municipal Museum)].” Bouwbrief
  • Smith, David. 1995. “To Restore Old Wind Instruments or Not.” Woodwind Quarterly 10: 16.
  • Weber, Rainer. 1991. “Dokumentation von Schäden an Holzblasinstrumenten: Auszug aus einem Referat der Tagung der Arbeitsgemeinschaft der Restauratoren (AdR) in Bochum 1989 [Documentation of Damage to Wood¬wind Instruments: Summary of a Lecture Given at the Conference of the Study Group of Restorers (AdR) in Bochum, 1989].” Tibia 16 (1): 383–295.
  • Weber, Rainer. 1981. “Die Instrumentensammlung der Accademia Filarmonica in Verona und Probleme ihrer Restaurierung [The Instrument Collection of the Accademia Filarmonica of Verona and Problems with its Restoration].” Tibia 6 (2): 313–19. http://www.moeck.com/uploads/tx_moecktables/1981-2.pdf.
  • Wenner, Martin. 1999. “Eine Terton-Blockflöte auf der Intensivstation … [A Terton Recorder in the Intensive Care Unit …].” Windkanal, no. 1: 22–23. http://www.windkanal.de/images/stories/PDF/1999-1/1999-1.pdf.
  • Zadro, Michael G. 1974. “Aspects on [sic] the Restoration of Woodwind Instruments.” American Recorder 15 (1): 7–11, 28.
  • Zadro, Michael G. 1974. “Guide to the Restoration of Woodwind Instruments.” Early Music 2 (3): 169–73.
  • Zaniol, Angelo. 1983. “Il flauto a becco: orientamenti per la ricostruzione [The Recorder: Guidlines for Reconstruction].” Liuteria, 8: 4–13; 9: 4–13.

Amplifying and Muting

  • Bolton, Philippe. 1998. “The Electroacoustic Recorder.” Recorder Magazine 18 (1): 6.
  • Carmichael, Craig. 1999. “Dynamics—and Tremolo, Too!” Recorder Magazine 19 (4): 131–33.
  • Delong, Anne. 2015. “Make Your Own Recorder Mute – and Recycle Too!” Accessed September 26. http://annedelong.timetraces.ca/recorder_mute.htm.
  • Dessy, Raymond, and Lee Dessy. 2001. “Sound-off: Recorder Mikes: What Sounds Good, Is Good!” http://members.iinet.net.au/~nickl/articles/mikes.pdf.
  • Drake, Julian. 1981. “Communication 331: A Temporary Debarockant Mock-Renaissance Cuneiform Recorder Windway Modifactory Acoustic Device.” FoMRHI Quarterly 23: 37. http://www.fomrhi.org/uploads/bulletins/Fomrhi-023.pdf.
  • Eicken, Alexa. 2001. “Jean-Luc Boudreau: Alexa Eicken sprach mit dem Blockflötenbauer aus Montréal [Jean-Luc Boudreau: Alexa Eicken Spoke with the Recorder Maker from Montreal].” Windkanal, no. 2: 12–14. http://www.windkanal.de/images/stories/PDF/2001-2/2001-2.pdf.
  • Fajardo, Raoul J. 1970. “Enhancing the Recorder Sound.” Recorder and Music Magazine 3 (5): 172–74.
  • Koschitzki, Daniel. 2009. “Kleine Halterung für großen Sound: Neuartige Mikrofonhalterung für Blockflöten [A Little Support for a Large Sound: New Microphone Support for Recorders].” Windkanal, no. 4: 16–17.
  • Villavicencio Grossmann, Cesar M. 2002. “The Electronic Recorder Explained.” American Recorder 43 (1): 7–9.
  • Villavicencio Grossmann, Cesar M. 2010. “Developing a Hybrid Contrabass Recorder; Resistances, Expression, Gestures and Rhetoric.” In Proceedings of the International Conference on New Interfaces for Musical Expression, 223–28. Sydney. http://www.nime.org/proceedings/2010/nime2010_223.pdf

General References

  • Benn, Nicholas, John Cousen, and Henry Woledge. 1963. “A Great Consort: Made and Described by Nicholas Benn, John Cousen, and Henry Woledge.” Recorder and Music Magazine 1 (3): 93.
  • Bollinger, Geri. 2008. “Die Entwicklung eines Subbasses–ein Werkstattbericht [The Development of a sub-bass–a report from the workshop].” Tibia 33 (3): 192–98.
  • Bolton, Philippe. 2000. “De l’arbre à la flûte = Van boom tot fluit [From Tree to Flute].” In Matière et musique: The Cluny Encounter: Proceedings of the European Encounter on Instrument Making and Restoration, Cluny 1999, edited by Claire Chevallier and Jon van Immerseel, 113–20. Antwerp: Labo. http://earlymusic.be/wp-content/uploads/2014/02/ccf19022014.pdf.
  • Bolton, Philippe. 1984. “La naissance d’une flûte à bec [The birth of a recorder].” Flûte à bec & instruments anciens 10: 12–15. http://www.flute-a-bec.com/fabrication.html.
  • Boudreau, Jean Luc. 2007. “How a Recorder Is Made.” YouTube. https://www.youtube.com/watch?v=WiSW6LPchSc.
  • Bouterse, Jan. 2015. “Communications 2030-2032: Making Woodwind Instruments: 1 Introduction; 2 Measuring; 2b Internal Dimensions.” FoMRHI Quarterly http://www.fomrhi.org/pages/fomrhi-131.
  • Bouterse, Jan. 2015. “Het maken van een kop voor een altblokfluit [Making the Head-joint of an Alto Recorder]. Deel 1, Boren en ruimen van de ‘werkkop’ [Part 1, Drilling and Reaming the Head-joint]. Deel 2, Het draaien van de ‘werkkop’ tot en met het plaatsen van de kop in de kernspleetrekmachine [Part 2, Turning the Head-joint up to and Including its Placement in the Windway-cutting Machine].  Deel 3, Het afdraaien van de ‘werkkop’ [Part 3, Turning the Head-joint].” De website van  Jan Bouterse. Accessed October 20. http://www.mcjbouterse.nl/makenaltblokfluitkop-1a.htm.
  • Bouterse, Jan. 1985. “Van blokfluiten, traverso’s en een hobo [Of Recorders, Flutes and Oboes].” Bouwbrief
  • Bouterse, Jan. 2008. Fluitenbouw – Handleiding voor het Maken van Houtblaasinstrumenten [Flute-making – Manual for Making Woodwind Instruments]. Alphen aan den Rijn: Published by the Author.
  • Bouterse, Jan. 1981. “Blokfluit bouw: mijn belangrijkste fouten en de correcties [Recorder Construction: My Main Errors and Corrections].” Bouwbrief 23: 14–15.
  • Bouterse, Jan. 1993. “Three Baroque Soprano Recorders by Richard Haka: Tips on How to Make a Copy.” Woodwind Quarterly 1: 120–33.
  • 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.
  • Brown, Adrian. 1989. The Recorder: A Basic Workshop Manual. 2nd ed. Brighton: Dolce DOL 112.
  • Brown, Adrian. 1997–1998. “Cuidado y maintenimiento de la flauta de pico [Care and Maintenance of the Recorder (published in two parts).” Revista de flauta de pico, 8: 15–18 (1997); 10: 17–21 (1998).
  • Deerenberg, Baldrick. 1987. “Verslag: Blokfluit bouw volgens 18e eeuw principes (cursus Sverre Kolberg) [Report: Recorder Construction According to 18th-century Principles (course by Sverre Kolberg)].” Bouwbrief 46: 30.
  • Diderot, Dennis, and Jean le Rond d’Alembert. 1975. The Manufacture of Musical Instruments. Edited by Helen Tullberg. Chippenham: Picton Print.
  • Diderot, Dennis, and Jean le Rond d’Alembert. 1751–1772. Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers … [Encyclopedia or Analytical Dictionary of the Sciences, Arts, and Trades]. 17 vols. Paris (vols 1-7) & Neufchâtel (8-17): Briasson & Faulche.
  • Diderot, Dennis, and Jean le Rond d’Alembert. 1972. Art du faiseur d’instruments de musique et lutherie. Extrait de l’Encyclopédie méthodique “Arts et métiers mécaniques”, Paris 1785. Geneva: Minkoff.
  • Dullat, Günther. 1990. Holzblasinstrumentenbau: Entwicklungsstufen und Technologien [Woodwind Instrument Making: Stages of Development and Technology]. Celle: Moeck.
  • Fröhlich, Susanne. 2019. “The New Potential of a 21st Century Recorder.” Dissertation, Graz: Universität für Musik und darstellende Kunst. https://www.dropbox.com/s/a06kz2py7r8hmbk/Susanne%20Froehlich_Dissertation_The%20new%20potential%20of%20a%2021st%20century%20recorder.pdf?dl=0.
  • Goembel, Luke. 1995. “Making a Recorder.” Woodwind Quarterly 8: 58–83.
  • Goembel, Luke. 1995. “Recorder Making at Moeck.” Woodwind Quarterly 10: 36–58.
  • Hamoen, Dirk J. 1986. “Verslag: Blokfluit technologie uit de 18e eeuw, de cursus van Sverre Kolberg.” Bouwbrief 43: 28.
  • Haynes, Bruce. 1969. “The Baroque Recorder: A Comparison with Its Modern Counterpart.” Recorder and Music Magazine 2 (11): 364–68.
  • Haynes, Bruce. 1978. “The Production Recorder.” Recorder and Music Magazine 6 (1): 12–13.
  • Hopkin, Bart. 1996. Musical Instrument Design: Practical Information for Instrument Makers. Tucson: Sharp Press. http://ft.parsons.edu/bso/wp-content/uploads/2012/09/Musical-Instrument-Design_-Practical-Information-for-Instrument-Making-Hopkin-Bart.pdf.
  • Kanji, Ricardo, and Jacqueline Sorel. 1994. “Authenticity in Recorder Making.” Woodwind Quarterly 4: 46–56.
  • Klemisch, Guido M. n.d. “Eine Kopie—warum? [A Copy: Why?].” Internationale Grazer Blockflötentage, Vorträge und Dokumentation.
  • Lankhof, G.F. 1993. “Het bouwen van een bas blokfluit [The Making of a Bass Recorder].” Bouwbrief 69: 3–4.
  • Lasocki, David R.G. 1967. “Diderot and the Recorder.” Recorder and Music Magazine 2 (6): 190.
  • Lerch, T. 1997. Der Klang Historischer Blockflöten [The Sound of Historical Recorders]. In G. Wagner (Ed.), Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz: 1997 (pp. 146–168). J.B. Metzler. https://doi.org/10.1007/978-3-476-03722-0_8
  • Lerch, Thomas. 2002. “Versuch Einter Blockflötenkopie – the Creation of a Clone.” Tibia 27 (2): 14–113. http://www.moeck.com/uploads/tx_moecktables/2002-2.pdf.
  • Lerch, Thomas, and Rainer Weber. 1995. “Herstellungstechniken im historischen Holzblasinstrumentenbau [The Manufacture of Historical Musical Instruments].” Das Musikinstrument internationales Fachblatt für Herstellung, Handel, Handwerk und Forschung auf dem Gebiete der Musikinstrumente und Musikelektronik 11: 14–24.
  • Lewis, Mildred. 1960. “How Recorders Are Made: At the Workshop of Friedrich von Huene.” American Recorder 1 (4): 4–6.
  • Loretto, Alec V. 1976. “Which? Some Comments on the Ways in Which Recorders Are Described by Their Makers, Players and Others.” Recorder and Music 5 (6): 190–91.
  • Loretto, Alec V. 1992. “Communication 1118: Copies.” FoMRHI Quarterly 69: 14. http://www.fomrhi.org/uploads/bulletins/Fomrhi-069.pdf.
  • Loretto, Alec V. 1987. “So You’d like to Become a Recorder Maker, Or, Come on in – the Water’s Fine!” American Recorder 27 (3): 101–3.
  • Loretto, Alec V. 1989. “Furniture and Recorders: The Problems with Making Copies.” American Recorder 30 (4): 143–44.
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Other Bibliographies and Indexes

  • American Musical Instrument Society. 2015. “An Index to the AMIS Journal [An Index to Articles Published in Volume 1 (1975) through Volume 32 (2006)].” http://amis.org/publications/journal/contents/index.html.
  • Bouterse, Jan. 2015. “Index van Bouwbriefartikelen over blaasinstrumentenbouw en -onderzoek uit De Bouwbrief (nr. 1 van 1975 t/m nr. 129 van 2008) [Index to Bouwbrief articles on Wind Instruments – covering issues 1 (1975) to 129 (2008)].” De website van  Jan Bouterse. Accessed November 10. http://www.bouwerskontakt.nl/pdf-bestanden/indexhoutblaasartikelen.pdf.
  • Fellowship of Makers and Restorers of Historic Instruments. 2015. “All FoMRHI Bulletins [Index and Repository of Scans of Issues 1-128  (1975-2014)].” http://www.fomrhi.org/pages/all-bulletins.
  • Galpin Society. 2015. “Complete Contents of GSJs [Index to Articles Published in GSJ, Volumes 1 (1948) through 68 (2015)].” http://www.galpinsociety.org/index2_htm_files/Contents%20of%20Journals%20I-LXVIII.pdf
  • Griscom, Richard W., and David R.G. Lasocki. 2013. The Recorder: A Research and Information Guide. 3rd ed. Routledge Music Bibliographies. New York, London: Routledge.
  • Haynes, Bruce. 2007. “The Accommodating Recorder.” In Recorders Based on Historical Models. Fred Morgan – Writings and Memories, edited by Gisela Rothe. Fulda: Mollenhauer.
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  • Karp, Cary, ed. 1992. The Conservation and Technology of Musical Instruments: A Bibliographical Supplement to Art and Archaeology Technical Abstracts, Volume 28. Marina del Rey, CA: Getty Conservation Institute.
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  • Paterson, Scott. 1990. Recorder Care. American Recorder Society Chapter Information Packet 1. Littleton: ARS Education Committee. 0003-0724.
  • Peacock Press. 2015. “Index to Recorder Magazines, 1993-2014.” Accessed November 14. http://www.recordermagazine.co.uk/.
  • Prescott, Thomas M. 1983. “Making Recorders.” American Recorder 2 (3): 95–98.
  • Stroom, Charles. 1983. “Literatuur: Blokfluit bouw, hout draaien, gereedschap, hout bewerking [Literature: Recorder Construction, Wood Turning Tools, Woodworking].” Bouwbrief 31: 23–24.
  • Stroom, Charles. 2007. “EMM Index [Index to articles published in Early Music].” http://stremen.home.xs4all.nl/emm_i.html.
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  • Wisniewski, Joseph. 2015. “Flute Making Bibliography.” Larry Krantz Flute Page. Accessed November 10. http://www.larrykrantz.com/flmakbib.htm.

Cite this article as: Lander, Nicholas S. 1996–2022. Recorder Home Page: Instruments: Construction & Design. Last accessed 7 August 2022. https://www.recorderhomepage.net/instruments/construction-design/