Bibliography

This bibliography concerns methods and tutors for the recorder written prior to the twentieth century.  As well as entries for the originals themselves it includes details of facsimiles, translations, subsequent and modern editions, secondary literature and relevant examples for other wind instruments (notably flageolet, flute and cornetto). A more convenient and flexible way of exploring it is via the Zotero citation database underlying this web-site. The Zotero database includes additional details not presented in the static list below, including ISBN and ISSN numbers. The Zotero interface is straightforward to use and allows you to select, sort and export entries in a variety of formats and to create your own citation lists formatted in a range of journal styles. All you need is your web-browser. This will be of particular assistance to students and researchers.

  • Agricola, Martin. 1529. Musica instrumentalis deudsch ynn welcher begriffen ist, wie man nach dem gesange auff mancherley Pfeiffen lernen sol, Auch wie auff die Orgel, Harffen, Lauten, Geigen, und allerley Instrument und Seytenspiel, nach der rechtgegrüdten Tabelthur sey abzusetsen [A German Instrumental music, in which is Contained: How to Learn to Play Many Kinds of Wind Instruments from Vocal Notation, and also How to Set Music into the Appropriate Tablature for the Organ, Harp, Lute, Fiddle, and all Kinds of Keyboard and String Instruments]. Wittenberg: George Rhau. http://imslp.org/wiki/Musica_instrumentalis_Deudsch_(Agricola,_Martin)
  • ———. 1545. Musica instrumentalis deudsch, darin das Fundament und Application der Finger und Zungen, auff mancherley Pfeiffen als Flöten, Kromphörner, Zincken, Bomhard, Schalmeyen, Sackpfeiffen und Schweitzerpfeiffen etc. Darzu von dreierley Geigen, als welschen, polisschen und kleinen Handgeiglein und wie die Griffe drauff auch auff Lauten künstlich abgemessen werden, item vom Monochordo, auch von künstlicher Stimmung der Orgelpfeiffen und Zimbeln, etc. Kürtzlich begriffen, und für unsere Schulkinder und andere gmeine Senger aufs verstendlichst und einfeltigst jtzund newlich zugericht [A German instrumental music, containing the basic rules and application of the fingers and tongue on many kinds of wind instruments, such as recorders, crumhorns, cornetts, pommer, shawms, bagpipes, and Swiss flutes, etc. In addition, concerning three kinds of fiddles, the Italian, the Polish, and the little hand-fiddle, and how the finger positions may be skillfully gauged on them, and also on the lute. Also concerning the monochord and the skillful tuning of organ pipes and small bells, etc. Briefly summarized and now newly arranged for our school children and other beginning singers in the most understandable and simple way]. Wittenberg: George Rhau. https://archive.org/details/musicainstrumen00eitngoog
  • ———. (1896) 1966. Musica Instrumentalis Deudsch, Erste Und Vierte Ausgable, Wittemberg 1528 Und 1545. In Neuer Diplomatisch Genauer, Zum Teil Facsimilierter Ausgabe. Publikation Alterer Praktischer Und Theoretischer Musikwerke, Bd. 20. Breitkopf & Härtel, Leipzig (1896); Reprinted: Broude Brothers, New York (1966). Publikation Älterer Praktischer Und Theoretischer Musik-Werke 20. Leipzig: Breitkopf & Härtel.
  • ———. 1969. Musica figuralis deudsch (1532). Im Anhang: Musica instrumentalis deudsch (1529); Musica choralis deudsch (1533); Rudimenta musices (1539). G. Olms, Hidesheim & New York (1969). Hidesheim & New York: G. Olms.
  • ———. (1529–1545) 1980. “Martin Agricola’s Poetic Discussion of the Recorder and Other Woodwind Instruments.” Edited and translated by William E. Hettrick. American Recorder 21(3): 103-113, 23(4): 139-146, 24(2): 51-60.
  • ———. 1994. The “Musica Instrumentalis Deudsch” of Martin Agricola; a Treatise on Musical Instruments, 1529 and 1545. Edited and translated by William E. Hettrick. Cambridge: Cambridge University Press.
  • Alker, Hugo. 1960. Blockflöten-Bibliographie [Recorder Bibliography]. 2 vols. Vienna: Universitätsbibliothek.
  • ———. 1966. “Blockflöten Bibliographie [Recorder Bibliography]. [Bd. 1]: Blockflöten-Bibliographie (1966). Bd. 2: Nachtrag und Gesamtregister [Supplement and Complete Index] (1969). Bd. 3: Nachtrag 1970–1974 (1975).” In . Wilhelmshaven: Heinrichshofen.
  • ———. 1984. Blockflöten-Bibliographie [Recorder Bibliography]. Bd. 1: Systematischer Teil [Systematic Part]. Bd. 2: Alphabetischer Teil [Alphabetical Part]. 2 vols. Wilhelmshaven: Heinrichshofen.
  • Anonymous. 1510. “Anleitung zum Blockflötenspiel: Introductio Geschriben uf Pfifen.” Basel. Ms. F X 38. Universitätsbibliothek. http://www.e-manuscripta.ch/doi/10.7891/e-manuscripta-2686.
  • ———. 1630. “Tutto il bisognevole per sonar il flauto da 8 fori con pratica et orecchia [Everything Necessary for Playing the Recorder with Skill and Taste].” Venice. Mss Ital C.IV. No. 486. Biblioteca Marciana.
  • ———. 1695. The Compleat Flute-Master, Or, The Whole Art of Playing on Ye Rechorder, Layd Open in Such Easy & Plain Instructions, That by Them Ye Meanest Capacity May Arrive to a Perfection on That Instrument, with a Collection of Ye Newest & Best Tunes, Composed by the Most Able Masters, to Which Is Added an Admirable Solo. London: J. Hare and J. Walsh.
  • ———. 1700. The Compleat Instructor to the Flute, The Second Book. Containing Very Plain & Easie Directions for Young Beginners, With Variety of Ye Newest & Best Tunes … London: J. Young.
  • ———. 1706a. The Fifth Book of the New Flute Master. Containing the Most Perfect Rules and Easiest Directions for Learners on the Flute yet Extant. Together Wth an Extraordinary Collection of Aires Both Italian and English … London: J. Walsh & J. Hare.
  • ———. 1706b. The Flute-Master Compleat Improv’d or The Gentlemans Diversion Made More Easie than Any yet Extant. Book the First. Containing Plain & Easie Directions for Young Beginners with Variety of the Newest and Best Tunes, Compos’d & Contriv’d for That Instrument By the Most Eminent Masters to Which Is Added, an Excellent Solo by Mr. Tho: Deane of Ye Queen’s Theater, Also a Scale Shewing How to Transpose Tunes out of Any Keys for Ye Flute. London: John Young.
  • ———. 1728. The New Flute Master for the Year 1729 Containing the Most Compleat Rules & Directions for Learners on Ye Flute. London: J. Walsh & Joseph Hare.
  • ———. 1730. The Second Book of the Flute Master Improv’d Containing the Plainest Instructions for Learners, with Variety of Easy Lessons by the Best Masters. London: D. Wright Jnr.
  • ———. 1735. Directions for Playing on the Flute with a Scale for Transposing Any Piece of Musick to Ye Properest Keys for That Instrument. To Which Is Added A Choice Collection of Minuetts, Jiggs, Song-Tunes & Aires in Two Parts. London: Benjamin Cooke.
  • ———. 1745. The Compleat Tutor for the Flute. Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency … London: Johnson.
  • ———. 1746. The Compleat Tutor for the Flute: Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency … London: John Simpson.
  • ———. 1750a. The Compleat Flute-Master Containing the Best and Easiest Rules to Learn That Favorite Instrument … London: John Tyther.
  • ———. 1750b. The Compleat Tutor for the Flute Containing the Best and Easiest Instructions for Learners to Obtain a Proficiency …. London: John Simpson.
  • ———. 1754a. The Compleat Tutor for the Flute Containing the Best and Easiest Instruction for Learners to Obtain a Proficiency …. London: Peter Thompson.
  • ———. 1754b. The Muses Delight. An Acccurate Collection of English and Italian Songs, Cantatas and Duets, Set to Music for the Harpsichord, Violin, German-Flute, Etc. with Instructions for the Voice, Violin, Harpsichord or Spinnet, Greman-Flute, Common-Flute, Hautboy, French Horn, Bassoon, and Bass-Violin; Also, A Compleat Musical Dictionary, and Several Hundred English, Irish and Scots Songs, Without the Music. Liverpool: John Sadler.
  • ———. 1760. The Compleat Flute-Master Containing the Best and Easiest Rules to Learn That Favorite Instrument …. London: Thomas Bennett.
  • ———. 1765a. The Compleat Tutor for the Flute Containing the Best and Easiest Instruction for Learners to Obtain a Proficiency …. London: R. Bremner.
  • ———. 1765b. The Compleat Tutor for the Flute Containing the Best and Easiest Instruction for Learners to Obtain a Proficiency …. London: Chas. & Saml. Thompson.
  • ———. 1775a. “Schaale voor Bekfluit [Recorder School].” The Hague. Gemeentemuseum.
  • ———. 1775b. The Compleat Tutor for the Flute Containing the Best and Easiest Instruction for Learners to Obtain a Proficiency …. London: Chas. & Saml. Thompson.
  • ———. 1780. Compleat Instructions, for the Common Flute, Containing the Easiest and Most Modern Methods for Learners to Play, Carefully Corrected by Eminent Masters …. London: Longman & Broderip.
  • ———. 1790. New and Compleat Instructions, for the Common Flute, Containing the Easiest and Most Modern Methods for Learners to Play, to Which Is Added A Favourite Collection of Songs, Airs, Minuets, Marches, Duetts, &c. Properly Adapted for the Instrument (ca 1790). London: Preston & Sons.
  • ———. 1794. New and Compleat Instructions, for the Common Flute, Containing the Easiest and Most Modern Methods for Learners to Play, to Which Is Added A Favourite Collection of Songs, Airs, Minuets, Marches, Duetts, &c. Properly Adapted for the Instrument (ca 1790). London: G. Goulding.
  • ———. (1695) 2004. The Compleat Flute-Master or The Whole Art of Playing on Ye Rechorder. A Facsimile of the 1695 First Edition. Mytholmroyd: Ruxbury Publications.
  • Banister, John II. 1681. The Most Pleasant Companion, or Choice New Lessons for the Recorder or Flute, Being a New Collection of New Lessons, Set Forth by Dots and Notes. To Which Is Added, Plain and Easie Rules and Instructions for Young Beginners. London: John Hudgebut & John Clerk.
  • Bär, Frank P. 2001. Holzblasinstrumente im 16. und frühen 17. Jahrhundert. Familienbildung und Musiktheorie [Woodwind Instruments in the 16th and Early 17th Centuries. Family Education and Music Theory]. Vol. 24. Tübinger Beiträge zur Musikwissenschaft. Tübingen: Universität Tübingen.
  • Berlin, Johann Daniel. 1724. Musicaliske Elementer eller Anleedning til Forstand paa De første Ting udi Musiquen vor udi Den Musicaliske Signatur i den Bruug som den nu haves hos de fleeste, saa ogsaa Applicaturen paa nogle saa kaldte strygende og blæsende Instrumenter og andet mere Musiquen tilhørende [Musical Elements or the Opportunity to Understand the Basic Elements in Music as Well as the Notation of Music, How it is Applied by Most People, as Well as the Function of Some So-called String and Wind Instruments and Other Aspects that Belong to Music]. Trondheim.
  • Bismantova, Bartolomeo. (1677) 1694. “Compendio musicale. In cui s’insegna à Prinipianti il vero modo, per imeperare con facilità, le Regole del Canto Figurato, e Canto Fermo; come anche per Comorre, e suonare il Basso Continouo, il Flauto, Cornetto, e Violino; come anche per Acordare Organi, e Cembali.  [Musical compendium, in which is taught to beginners the true method to command with ease the rules of figured song and plainsong, as well as to compose and play the basso continuo, recorder, cornett, and violin, and also the organ and harpsichord].” Ferrara. Ms Reggiani E. 41. Biblioteca Municipale di Reggio Emilia.
  • ———. (1694) 1973. “Prassi strumentale in Emilia nell’ultimo quarto del Seicento: flauto italiano, cornetto, archi [Instrumental practice in Emilia in the last quarter of the 17th century: recorder, cornett, strings].” Edited by Adriano Cavicchi. Studi musicali 2 (1): 111–43.
  • ———. 1978. “The Discussion of Wind Instruments in Bartolomeo Bismantova’s Compendio Musicale (1677): Translation and Commentary = Die Abhandlung Über Die Basinstrumente in Bartolomeo Bismantovas Compendio Musicale (1677): Ubersetzung Und Konmentar.” Edited by Bruce Dickey, Petra Leonards, and Edward H. Tarr. Basler Jahrbuch Für Historische Musikpraxis 2: 143–87.
  • Blanckenburgh, Geerbrant Quirinjnszoon van. 1654. Onderwyzinghe Hoemen alle de Toonen en halve Toonen, die meest gebruyckelyck zyn, op de Hand-Fluyt Zal konnen t’eenemael zuyver Blaezen, en hoe men op yeder ’t Gemackelycks een Trammelat zal konnen maken, heel dienstigh voor de Lief-hebbers [Instructions for How One Can Learn to Play all the Most Usual Tones and Semitones On the Recorder in Tune, and How One Can Make a Trill in the Easiest Way on Each One – Very Useful for Music Lovers]. Amsterdam: Paulus Matthysz.
  • ———. (1654) 1871. Onderwyzinge hoemen alle de toonen en halve toonen, die meest gebruyckelyck zyn, op de handt-fluyt zal konnen t’eenemael zuyver blaezen …. Munich: Oscar.
  • ———. (1654) 1981. Onderwyzinge hoemen alle de toonen en halve toonen, die meest gebruyckelyck zyn, op de handt-fluyt zal konnen t’eenemael zuyver blaezen …. Münster: Mieroprint Musikverlag.
  • Bottrigari, Ercole. 1594. Il desiderio overo de’ concerti di varii strumenti musicali  [“Il desiderio” or Concerning the Playing Together of Various Musical Instruments]. Venice: Gioambattista Bellagamba. https://books.google.com.au/books?id=Nww5AAAAIAAJ
  • ottrigari, Ercole, and Vicenzo Giustiniani. 1962. 1. Hercole Bottrigari: Il Desiderio or Concerning the Playing Together of Various Musical Instruments. 2. Vicenzo Giustiniani: Discorso Sopra La Musica [Discourse on Music]. Edited and translated by Carol MacClintock. Musicological Studies and Documents 9. American Institute of Musicology. http://www.corpusmusicae.com/msd/msd_cc009.htm.
  • Boxall, Maria. 1980. “Elizabeth Henthorn’s Recorder Books.” Recorder and Music 6 (9): 363–264.
  • Boyer, Margareth A. 1979. “Jacques Hotteterre’s ‘L’art de Préluder’: A Translation and Commentary.” Master of Music, Kansas City: Conservatory of Music, University of Missouri-Kansas City.
  • Cambell, J. Patricia. 1995. “Musical Instruments in the Instrumentälischer Bettlermantl— a Seventeenth-Century Musical Compendium.” Galpin Society Journal 48: 156–67.
  • Cardano, Girolamo [Geronimo]. 1546. “De musica [On music].” Rome. Ms 5850. Vatican.
  • ———. 1663. Hieronymi Cardani mediolensis Philosophi ac Medici Celeberrimi opera omnia: tam hectenus excusa; hic tamen aucta et emendata; quam nunquam alias visa, ac primum ex Auctoris ipsius Autographis eruta [The Complete Works of Geronimo Cardan, Celebrated Philospher and Medical Doctor from Milan …]. Edited by Carolus Sponius. Vol. 10. Lyon: Jean Antoine Huguetan and Marc Antione Ravaud. http://filolinux.dipafilo.unimi.it/cardano/testi/operaomnia/vol_10_s_6.pdf
  • ———. 1973. Writings on Music. Edited and translated by Clement A. Miller. Musicological Studies & Documents 32. Rome: American Institute of Musicology.
  • Carpenter, Jennifer. 2005. “The Recorder Tutors in T’Uitnement Kabinet.” M.M., Denton: University of North Texaas. University of Texas, Digital Library. http://digital.library.unt.edu/ark:/67531/metadc4895/m2/1/high_res_d/thesis.pdf
  • Carr, Robert. 1686. The Delightful Companion, or Choice New Lessons for the Recorder or Flute, to Which Is Added, Several Lessons for Two and Three Flutes to Play Together. Also Plain and Easie Instructions for Beginners, and the Several Graces Proper to This Instrument. 2nd ed. London: John Playford & John Carr. http://imslp.org/wiki/The_Delightful_Companion_(Playford,_John).
  • Carse, Adam. 1940. “Fingering the Recorder.” Music Review 1 (2): 86–104.
  • Castellani, Marcello. 1977. “The Regola per Suonare Il Flauto Italiano by Bartoleomeo Bismantova (1677).” Galpin Society Journal 30: 78–85.
  • Cohen, Albert. 1965. “Étienne Loulié as a Music Theorist.” Journal of the American Musicological Society 18 (1): 70–72.
  • Dalla Casa, Girolamo. 1584. Il Vero Modo di diminuir con tutte le sorti di stromenti di fiato, e corda, e di voce humana … [The Correct Way of Playing Divisions on All Types of Wind and Stringed Instruments, and With the Human Voice …]. 2 vols. Venice: Angelo Gardano. http://imslp.org/wiki/Il_vero_modo_di_diminuir_(Dalla_Casa,_Girolamo)
  • ———. (1584) 1976. La vraie maniere de diminuer, avec toutes les sortes d’instruments, a vent, a cordes et a la voix humaine. Translated by Jaques Leguy and S. Leguy. Paris: Le Droit Chemin de Musique.
  • ———. (1584) 1980. Il vero modo di diminuir, con tutte le sorti di stromenti [The correct way of playing divisions on all types of instruments]. Edited by Giusepe Vecchi. Bibliotheca Musica Bononiensis, Sezione 2, n. 23. Bologna: Arnaldo Forni.
  • ———. (1584) 1989. “Il Vero Modo Di Diminuir [The Correct Way of Playing Divisions]: [To the Readers].” Translated by Jesse Rosenberg. Historic Brass Society Journal 1: 109–14. http://www.historicbrass.org/portals/0/documents/journal/HBSJ_1989_JL01_007_Rosenberg_6779.pdf
  • Dart, Thurston. 1952. “Four Dutch Recorder Books.” Galpin Society Journal 5: 57–60.
  • ———. 1959. “Recorder ‘Gracings’ in 1700.” Galpin Society Journal 12: 93–94.
  • Delius, Nikolaus. 1976. “Die erste Flötenschule des Barock? [The first recorder method of the Baroque?].” Tibia 1 (1): 5–12. http://www.moeck.com/cms/fileadmin/fachartikelpdf/19761005.pdf
  • liveira  Titan, Dina Maria de. 2019. “Silvestro Ganassis Lehrwerk »Opera Intitulata Fontegara« [Silvestro Ganassi’s textbook ‘Opera Intitulata Fontegara’].” Windkanal, no. 2.
  • Denecker, Patrick. 1997. “De blokfluit in de 19de eeuw [The Recorder in the Nineteenth Century].” Musica antiqua 14 (4): 167–172.
  • Diderot, Dennis, and Jean le Rond d’Alembert. 1751. 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 (vols 8-17): Briasson & Faulche.
  • Dolmetsch, Arnold. 1915. The Interpretation of the Music of the Seventeenth and Eighteenth Centuries Revealed by Contemporary Evidence. Handbooks for Musicians. London: Novello. http://imslp.org/wiki/The_Interpretation_of_the_Music_of_the_17th_and_18th_Centuries_(Dolmetsch,_Arnold)
  • Douwes, Claas. 1699. Grondig ondersoek van de toonen der musijk. [A Thorough Examination of Music]. Franeker: Adriaan Heins. http://digicollectie.tresoar.nl/object.php?object=214.
  • ———. (1699) 1970. Grondig ondersoek van de toonen der musijk [A thorough examination of music]. Edited by Peter Williams. Early Music Theory in the Low Countries 2. Amsterdam: Frits Knuf.
  • Ehlich, Liane, and Jörg Fielder. 2003. “‘Introductio gschriben uf Pfifen’: Eine Basler Quelle zum Blockflötenspied c. 1510.” Glareana: Nachricten der Gesellschaft der Freunde alter Musikinstrumente 52 (2): 44–63. http://www.gefam.ch/uploads/Glareana_52_2003_2.pdf
  • Eisel, Johann Phillipp. 1738. Musicus αυτoδιδακτoζ oder, Der sich selbst informirende Musicus, bestehend sowohl in Vocal-als üblicher Instrumental-musique [The Musical Autodidact; or, The Self-taught Musician, for both Vocal and Common Instrumental Music]. Erfurt: Johann Michael Funcken.
  • Everard, Pater Ferdinand von. 1770. Principes pour la flute. P.F.E. 1770. Stift Melk, Lower Austria.
  • Eyck, Jacob van. 1646. Der fluyten lust-hof [The Flute Pleasure Garden]. Amsterdam: Paulus Matthysz. http://imslp.org/wiki/Der_Fluyten_Lust-Hof_(Eyck,_Jacob_van)
  • Form, Michael. 2002a. “A Compass through the Ganassi Jungle.” Cinnamon Sticks 3 (1): 6011.
  • ———. 2002b. “Girolamo Cardano: De Musica.” Windkanal, no. 2: 19–11. http://www.windkanal.de/images/stories/PDF/2002-2/Windkanal_2002-02_S10-11.pdf
  • Francoeur, Louis-Joseph. 1772. Diapason général de tous les instruments à vent avec des observations sur chacun d’eux … [The General Compass of all Wind Instruments with Observations on Each of Them …]. Paris: Des Lauriers.
  • ———. (1772) 1972. Diapason général de tous les instruments à vent avec des observations sur chacun d’eux … [The General Compass of all Wind Instruments with Observations on Each of Them …]. Geneva: Minkoff Reprints.
  • Freillon-Poncein, Jean-Pierre. 1700. La véritable manière d’apprendre à jouer en perfection du hautbois, de la flûte et du flageolet, avec les principes de la musique pour la voix et pour toutes sortes d’instrumens. [The True Way to Learn to Play with Perfection the Oboe, Recorder, and Flageolet, With the Principles of Music for the Voice and all Kinds of Instruments]. Paris: Jacques Collombat. http://imslp.org/wiki/La_veritable_maniere_d%27apprendre_a_jouer_en_perfection_(Freillon_Poncein,_Jean-Pierre)
  • ———. (1700) 1969. The True Way to Learn to Play Perfectly the Oboe, the Recorder, and the Flageolet along with the Principles of Music for Voice and All Kinds of Instruments. Translated by Catherine P. Smith. Brooklyn: Translations Center, Brooklyn College, City University of New York.
  • ———. 1972. La véritable manière d’apprendre à jouer en perfection du hautbois, de la flûte et du flageolet, avec les principes de la musique pour la voix et pour toutes sortes d’instrumens. [The True Way to Learn to Play with Perfection the Oboe, Recorder, and Flageolet, With the Principles of Music for the Voice and all Kinds of Instruments]. Geneva: Minkoff Reprints.
  • ———. 1982. “The True Way to Learn to Play the Oboe, the Recorder, and the Flageolet Perfectly.” Edited and translated by Catherine P. Smith. American Recorder 23 (1): 3–10.
  • ———. 1992. On Playing Oboe, Recorder, & Flageolet. Translated by Catherine P. Smith. Bloomington: Indiana University Press.
  • Ganassi, Silvestro. 1535. Opera intitulata Fontegara. La quale i[n]segna a sonare de flauto cho[n] tutta l’arte opportuna a esso i[n]strumento massime il diminuire il quale sarà utile ad ogni i[n]strumento di fiato et chorde: et a[n]chora a chi si dileta di canto. [Work Entitled “Fontegara”, which Instructs in Playing the Recorder with all the Proper Art of this Instrument, Especially the Creation of Diminutions that will be Useful for all Wind and String Instruments as well as Those who Practice Singing]. Venice: Silvestro Ganassi. http://imslp.org/wiki/Opera_Intitulata_Fontegara_(Ganassi,_Sylvestro)
  • ———. (1535) 1956. La Fontegara: Schule des kunstvollen Flötenspiels und Lehrbuch des Diminuierens, Venedig, 1535. Edited by Hildemarie Peter. Translated by Emilia Dahnk-Baroffio. Berlin-Lichterfelde: Robert Lienau.
  • ———. (1535) 1959. Opera Intitulata Fontegara, Venice 1535. A Treatise on the Art of Playing the Recorder and of Free Ornamentation. Edited by Hildemarie Peter. Translated by Dorothy Swainson. Berlin-Lichterfelde: Robert Lienau.
  • ———. (1535) 2000. “Tècnica d’articulació segons La Fontegara de Silvestro Ganassi  (Venècia 1535).” Translated by Joan Vives. http://perso.wanadoo.es/arcelimerino04/fontegar.htm
  • ———. (1535) 2002. Sylvestro Ganassi: Oeuvres complètes, volume 1, La Fontegara (1535). Edited by Christine Vossart. Translated by Jean-Philippe Navarre. Sprimont: Pierre Mardarga.
  • Garrido, Gabriel. 1982. “La flûte à bec dans la musique italienne: Propositions d’interprétations [The Recorder in Italian Music: Propositions for Interpretation].” Flûte à bec 3: 34–35.
  • Gifford, Gerald. 2004. “Introducing a Series of Facsimile Publications of Materials from the Dolmetsch Library of Early Music, Haslemere.” The Consort 60: 78–88.
  • Greeting, Thomas. 1673. The Pleasant Companion: Or New Lessons and Instructions for the Flagelet [Sic.]. 2nd ed. London: Playford.
  • ———. (1675) 2010. The Pleasant Companion: Or New Lessons and Instructions for the Flagelet. Early Social Customs. London: Early English Books Online (EEBO ), ProQuest.
  • Gutman, Veronika. 1980. “Il Dolcimelo von Aurelio Virgiliano: Eine handschriftliche Quelle zur musikalischen Praxis um 1600. [Aurelio Virgiliano’s Il dolcimelo: A Manuscript Source on Performance Practice ca 1600].” In Basler Studien zur Interpretation der alten Music, 107–39. Winterthur: Amadeus.
  • Harras, Manfred, and Ludwig Finscher. 1994. “Blockflöte [Recorder].” In Die Musik in Geschichte Und Gegenwart, Edn 2. Kassel: Bärenreiter.
  • Haynes, Bruce. 2002. “Die Kunst des Präludierens auf Holzblasinstrumenten im 18.Jahrhundert [The Art of Preluding on Woodwind Instruments in the Eighteenth Century].” Tibia 27 (2): 91–93. http://www.moeck.com/uploads/tx_moecktables/2002-2.pdf
  • Hederick, Peter J. 1966. “Hotteterre on the Recorder.” American Recorder 7 (2): 4–8.
  • Henseler, Ewald. 2001. “Zwei unbekannte Grifftabelen [Two Unknown Fingering Charts?].” Tibia 26 (1): 384–85.
  • Hill, William. (1717) n.d. The Bird Fancyer’s Delight. Edited by Stanley Godman. Translated by Judith Meier. Mainz, London, Madrid, New York, Paris, Tokyo, Toronto: Schott ED 10442.
  • ———. 1717. The Bird Fancyer’s Delight or Choice Observations and Directions Concerning the Teaching of All Sorts of Singing Birds after the Flagelet and Flute Rightly When Made as to Size and Tone with Lessons Properly Compos’d within the Compass and Faculty of Each Bird …. London: Richard Meares; John Walsh. http://imslp.org/wiki/The_Bird_Fancyer’s_Delight_(Walsh,_John)
  • Holloway, William. 1972. “Musica Instrumentalis Deudsch (Wittenberg, 1529).” Ph.D. dissertation, Austin: Texas State University.
  • Hornick, A. 1978. “Early Eighteenth-Century Treatises on the Recorder.” American Recorder 19 (2): 62–64.
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  • ———. 1767. The Elements of Musick Display’d …  Book II. Containing, the Structure of Musical Instruments: With the Scale of Musick Applicable to Each; and Directions Thereunto. Viz. the Pitch-Pipe and Its Use: The Organ, or Harpsichord,: The Bassoon and Haut-Boy: The Bass Viol, Violin, and Guittar: The German and Common Flutes … Book III: The Elements of Musick Made Easy: Or, an Universal Introduction to the Whole Art of Musick. London: Stanley Crowder.
  • Tarasov, Nik. 2002. “Klangrede & Klang [Sounding Discourse and Sound].” Windkanal, no. 2: 6–9. http://www.windkanal.de/images/stories/PDF/2002-2/Windkanal_2002-02_S06-09.pdf
  • T.B. 1772. The Compleat Musick-Master: Being Plain, Easie, and Familiar Rules for Singing, and Playing on the Most Useful Instruments Now in Vogue, According to the Rudiments of Musick. Viz, Violin, Bass Viol, Flute, Treble-Viol, Haut-Boy, Tenor Viol …. Edn 3. London: William Pearson. http://imslp.org/wiki/The_Compleat_Musick-Master_(Various).
  • ———. (1772) 2010. The Compleat Musick-Master: Being Plain, Easie, and Familiar Rules for Singing, and Playing on the Most Useful Instruments Now in Vogue, According to the Rudiments of Musick. Viz, Violin, Bass Viol, Flute, Treble-Viol, Haut-Boy, Tenor Viol …. Edn 3. Eighteenth Century Collections Online. Farmington Hills, MI: Gale.
  • Thieme, Ulrich. 1996. “Fingerzeige aus dem Kloster [Fingerings from the Cloister].” Tibia 21 (3): 208. http://www.moeck.com/uploads/tx_moecktables/1996-3.pdf
  • Thomson, John M., and Anthony Rowland-Jones, eds. 1995. The Cambridge Companion to the Recorder. Cambridge: Cambridge University Press.
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  • Virdung, Sebastian. 1511. Musica getutscht und aussgezogen durch Sebastianum Virdung Priesters von Amberg und alles Gesang auss den Noten in die Tabulaturen diser benanten dryer Instrumenten der Orgeln: der Lauten: und den Flöten transferieren zu lernen Kurtzlich gemacht zu eren dem hochwirdigen hoch gebornen Fürsten und Herren: Herr Wilhalmen Bischove zum Straszburg seynem gnedigen Herren [Music translated into German and excerpted by Sebastian Virdung, priest of Amberg and everything there is to know about transcribing songs from notes into the tablatures of these three given instruments: the organ, the lute, and the recorder — made simple. In honor of his gracious lord, the most reverend, high-born prince and lord, Wilhelm, Bishop of Strassburg]. Basel & Strasburg. https://daten.digitale-sammlungen.de/~db/0001/bsb00011703/images/index.html
  • ———. (1511) 1529. Livre plaisant et tres utile pour apprendre a faire & ordonner toutes tabulatures hors le discant, dont & par lesquelles lon peult facilement et legierement aprendre a jouer sur les Manicordion, Luc, et Flutes Entertaining and Very Useful Book to Learn to Have at your Command all Tablatures Except the Discant, by Means of Which one can Easily and Swiftly Learn to Play on the Organ, Lute, and Recorder]. Antwerp: Vorsterman.
  • ———. (1511) 1568. Dit is een zeer schoon Boecxken, om te leeren maken alderhande tabulatueren wten Discante. Daer duer men lichtelijck mach leeren spelen opt Clavecordium luyte ende Fluyte. [This is a nice little book for learning all kinds of tablatures except the discant, by means of which one can easily learn to play the organ, lute and recorder]. Amsterdam: Jan van Ghelen.
  • ———. (1511) 1931. Virdung, S. Musica getutscht, Basel 1511. Edited by W.N. von Klaus. Kassel: Bärenreiter Verlag.
  • ———. (1511) 1965. “Sebastian Virdung: Musica Getutscht Und Aussgezogen (Basel 1511).” Translated by Laurence Wright. Recorder and Music Magazine 1 (10): 301–3.
  • ———. (1511) 1966. Musica getutscht, 1511. Publikation aelterer praktischer und theoretischer Musik-Werke 11. New York: Broude Brothers.
  • ———. (1511) 1970. Musica getutscht. Documenta musicologica. 1. Reihe, Druckschriften-Faksimiles 31. Kassel, Basel: Bärenreiter.
  • ———. (1511) 1979. “Sebastian Virdung’s Method for Recorders of 1511: A Translation with Commentary.” Translated by William E. Hettrick. American Recorder 20 (3): 99–105.
  • ———. (1511) 1980. Sebastian Virdung, Musica getutscht: les instruments et la pratique musicale en Allemagne au début du XVIe siècle. Edited and translated by Christian Meyer. Paris: Éditions du Centre national de la recherche scientifique.
  • ———. (1511) 1993. Musica Getutscht: A Treatise on Musical Instruments (1511) by Sebastian Virdung. Edited and translated by Beth A. Bullard. Cambridge Musical Texts and Monographs. Cambridge: Cambridge University Press.
  • Virgiliano, Aurelio. 1600. “Il dolcimelo d’Aurelio Virgiliano dove si contengono variati passaggi, e diminutioni cosi per voci, come per tutte sorte d’instrumenti musicale; con loro accordi, e modi di sonare [Aurelio Virgiliano’s Il dolcimelo, in which are found passaggi and diminutions either for voices or for all kinds of musical instruments; with their charts and methods of playing].” Bologna. Ms. C. 33. Civico Museo Bibliografico Musicale. http://imslp.org/wiki/Il_Dolcimelo_(Virgiliano,_Aurelio)
  • ———. (1600) 1979. Il dolcimelo. Edited by Marcello Castellani. Archivum musicum., Collana di testi rara 11. Florence: Studio per edizioni scelte (SPES).
  • Warner, Thomas E. 1964. “Indications of Performance Practice in Woodwind Instruction Books of the 17th and 18th Centuries.” Ph.D. dissertation, New York: New York University. UMI Order no. 65-01678.
  • ———. 1967. An Annotated Bilbiography of Woodwind Instruction Books, 1600-1830. Detroit Studies in Music Bibliogaphy 11. Detroit: Information Coordinators.
  • Wright, Daniel. 1734. The Compleat Tutor for Ye Flute Containing the Newest Instructions for That Instrument. London: Author.
  • ———. 1745. The Compleat Tutor for Ye Flute Containing the Newest Instructions for That Instrument. London: John Johnson.
  • ———. 1746. The Compleat Tutor for Ye Flute Containing the Newest Instructions for That Instrument. London: John Simpson.
  • Zacconi, Lodovico. 1596. Prattica de musica utile et necessaria si al comositore per comporre i canti suoi regolatamente, si anco al cantore per assicurasi in tutte le cose cantabili  [Musical Practice, Useful and Necessary to the Composer of Songs in a Regular Manner as well as to Singers to be Sure About Everything to do with Singing]. Venice: Carampello. http://imslp.org/wiki/Prattica_di_musica_(Zacconi,_Ludovico)
  • ———. 1982. Prattica de musica. Georg Olms, Hildesheim, New York (1982). Facsimile of both 1596 and 1622 editions. Hildesheim, New York: Georg Olms.

Cite this article as: Lander, Nicholas S. 1996–2022. Recorder Home Page: Historic Methods & Tutors: Bibliography. Last accessed 7 August 2022. https://www.recorderhomepage.net/technique/historic-methods-and-tutors/bibliography/