Bibliography

This bibliography concerns the production and application of tremolo and vibrato on the recorder. 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.

  • 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.
  • –––. (1529, 1545) 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.
  • –––. 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).
  • Algra, Nynke. 2010. “De flatterzunge [Flutter tonguing].” blokfluitist 2 (2).
  • Bania, Maria. 2008. “Sweetenings” and “Babylonish Gabble” Flute Vibrato and Articulation of Fast Passages in the 18th and 19th Centuries. Art Monitor, Dissertations 5. Gothenburg: University of Gothenburg. http://gupea.ub.gu.se/handle/2077/17310.
  • 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.
  • Bowman, Peter. 1997. “Test Pad: Dynamics, an Unrealistic Expectation or … ? (Part 2).” Recorder Magazine 17 (1): 9–11.
  • Brown, Andrew F.D. 1976. “A Cineflurographic Pilot Study of the Throat While Vibrato Tones Are Played on Flute and Oboe.” Journal of The International Double Reed Society 4: 39–57. http://www.zainea.com/vibrato.htm.
  • Brüggen, Daniel. 1996. “Das Vibrato im Blockflötenspiel [Recorder Vibrato].” Tibia, 21 (1): 23–27; (2): 116–23. http://www.moeck.com/cms/fileadmin/tibia/alteHefte/1996/1996-1.pdf.
  • –––. 1997. “Ruling the Waves.” American Recorder 38 (1): 6–12.
  • Carter, Stewart. 1991. “The String Tremolo in the 17th Century.” Early Music 18 (1): 43–59.
  • Charlton, Andrew. 1981. The Charlton Method for the Recorder: A Manual for the Advanced Recorder Player. Columbia: University of Missouri Press.
  • Chew, Geoffrey. 1984. “Vibrato.” In The New GROVE Dictionary of Musical Instruments, edited by Stanley J. Sadie, 3:722–23. London: Macmillan.
  • Clark, Paul. 1960. “Recorder Player’s ABC.” Recorder and Music Magazine 3 (2): 61–62.
  • Corrette, Michel. 1740. Méthode Raisonnée pour apprendre aisément à jouër de la Flûtte Traversiere. http://imslp.org/wiki/Méthode_pour_apprendre à jouër_la_flûtte_(Corrette,_Michel).
  • Davis, Alan. 1974. “Vibrato on the Recorder.” Recorder & Music 4 (10): 350–51.
  • Dessy, Raymond, and Lee Dessy. 1998. “Hear, There, Everywhere: The Psychoacoustics of the Recorder.” American Recorder 39 (1): 8–14, 26.
  • Dickey, Bruce. 1978. “Spieltechnik und Repertoire der Blasinstrumente vom 16. bis ins frühe 19. Jahrhundert. II. Untersuchungen zur historischen Auffassung des Vibratos auf Blasinstrumenten.  [An Investigation of the Historical Use of Vibrato on Wind Instruments].” Basler Jahrbuch für Historische Musikpraxis 2: 77–142.
  • Donington, Robert. 1989. The Interpretation of Early Music: New Version. London: Faber & Faber.
  • –––. 1982. Baroque Music: Style and Performance. London: Faber Music.
  • –––. 1973. A Performer’s Guide to Baroque Music. London: Faber & Faber.
  • Feldon, Frances. 1997. “Vibrato in the French Baroque.” American Recorder 38 (1): 12–13.
  • –––. 1996. “The Rational Ear: Musica Poetica and Vibrato in France, 1675-1725.” D.M., Bloomington: Early Music Institute, School of Music, Indiana University.
  • 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) 2002. Sylvestro Ganassi: Oeuvres complètes, volume 1, La Fontegara (1535). Edited by Christine Vossart. Translated by Jean-Philippe Navarre. Sprimont: Pierre Mardarga.
  • Gãrtner, Jochen. 1981. The Vibrato, with Particular Consideration given to the Situation of the Flutist: Historical Development, New Physiological Discoveries, and Presentation of an Integrated Method of Instruction. Translated by Einar W. Anderson. Regensburg: Bosse.
  • Henderson, Tom. (1996) 2016. “Physics Interactives.” The Physics Classroom. http://www.physicsclassroom.com/.
  • Hauwe, Walter van. 1984–1992. The Modern Recorder Player. 3 vols. London: Schott Edition 12150, 12270, 12361.
  • Haynes, Bruce. 1997. “Das Fingervibrato (Flattement) auf Holzblasinstrumenten im 17, 18. und 19 Jahrhundert, Teil I & Teil II [Woodwind Finger Vibrato (flattement) in the Seventeenth, Eighteenth, and Nineteenth Centuries].” Tibia, 2: 401–97; 3: 481–87. http://www.moeck.com/uploads/tx_moecktables/1997-2.pdf.
  • Hotteterre, Jacques. 1968. Principles of the Flute, Recorder & Oboe, Paris 1707. Edited and translated by David Lasocki. London: Barrie & Rockcliff / Cresset Press.
  • –––. 1708. Pièces pour la flûte traversière et autres instruments, avec la basse continue. Livre Premier. Oeuvre Second [Pieces for the transverse flute and other instruments, with basso continuo. Book 1, Opus 2.]. Paris: Jacques Hotteterre & Henri Foucault.
  • Hotteterre, Jacques. 1707. Principes de la flûte traversière, ou flûte d’Allemagne, de la flûte à bec, ou flûte douce, et du haut-bois diviséz par traitéz [Principles of the Flute, Recorder, and Oboe, Divided into Treatises]. Paris: Christophe Ballard. http://imslp.org/wiki/Principes_de_la_flute_traversiere,_de_la_Flute_a_Bec,_et_du_Haut-bois,_Op.1_(Hotteterre,_Jacques).
  • Hudgebut, John. 1679. A Vade Mecum for the Lovers of Musick, Shewing the Excellency of the Rechorder with Some Notes and Directions for the Same. Also, Some New Ayres Never Before Published. London: N. Thompson for John Hudgebut.
  • Hunt, Edgar H. 2002. The Recorder and Its Music. Revised and enlarged. Hebden Bridge: Peacock Press.
  • Kottick, Edward L. 1975. Tone and Intonation on the Recorder. New York: McGinnis & Marx.
  • Lander, Nicholas S. 2016. “Vibrato and Tremolo on the Recorder.” Recorder Home Page. https://www.recorderhomepage.net/technique/tremolo-and-vibrato/.
  • Leviste, Roger. 1953. The Rational Technique of Vibrato for the Use of Violinists. London: Bosworth.
  • Linde, Hans-Martin. 1992. “Vom ‘cantablen’ Spiel auf der Blockflöte [On ‘cantabile’ playing on the recorder].” SAJM Zeitschrift f 20 (2): 17–21.
  • –––. 1984. Handbuch des Blockflötenspiels [The recorder player’s handbook]. 2nd ed. Mainz, New York: Schott.
  • –––. 1991. The Recorder Player’s Handbook. 2nd ed. London: Schott ED12322.
  • Loulié, Étienne. 1701-2. “Méthode pour apprendre à jouer de la flûte douce [Method for learning to play the recorder].” Paris. Fonds fr. n.a. 5355, XIX-XX. Bibliothèque Nationale de France.
  • ———. (1701-2) 1983. “A Translation of Étienne Loulié’s Method for Learning How to Play the Recorder.” Translated by Richard Semmens. American Recorder 24 (4).
  • ———. (1701-2) 1994. Méthode pour apprendre à jouer de la flûte douce. Edited by Nicolas Stroesser. Strasbourg: Les Cahiers du Tourdion.
  • Loulié, Étienne, Jacques Hotteterre, and Freillon-Poncein. 1996. Les 3 méthodes de flute à bec en France à l’époque baroque [The three French recorder methods of the Baroque era]. Edited by Laurence Pottier. Paris: Éditions Aug. Zurfluh.
  • Mahaut, Antoine. 1759. Nouvelle Méthode Pour Ap[p]rendre En Peu de Tem[p]s а Jouer La Flute Traversiere à l’Usage Des Commençans et Des Personnes plus Avencees, Suivie de Petits Airs, Menuets, Brunettes, &c Accomodés Pour Deux Flûtes, Violons, et Pardessus de Viole [A New Method to Quickly Learn to Play the Transverse Flute for Beginners and Those More Advanced, Followed by Little Airs, Minuets, Brunettes, Etc. Arranged for Two Flutes, Violins and Pardessus-de-Viole]. Paris & Lyon: De La Chevardière. http://imslp.org/wiki/Nouvelle_M%C3%A9thode_pour_jouer_la_Fl%C3%BBte_Traversi%C3%A8re_(Mahaut,_Antoine).
  • Marvin, Bob. 1968. “Playing French Late Baroque Music on on the Recorder.” American Recorder 9 (2): 39–41.
  • Mayer-Spohn, Ulrike, and Keitaro Takahashi. 2014. “The Recorder Map.” http://recordermap.com/
  • Mather, Betty B. 1978. Interpretation of French Music from 1675 to 1775 for Woodwind and Other Performers; Additional Comments on German and Italian Music. New York: McGinnis & Marx.
  • McLane, Marion L. 1985. “Artistic Vibrato and Tremolo: A Survey of the Literature.” Journal of Research in Singing, 8 (2): 21–43; 9 (1): 11–42.
  • Mersenne, Marin. (1637) 1988. “Die Blasinstrumente aus der ’Harmonie Universelle‘ des Marin Mersenne und ihre Bedeutung für die Aufführungspraxis heute [The wind instruments from Marin Mersenne’s “Harmonie Universelle” and their significance for performance practice today].’” Translated by Wolfgang Köhler. Tibia 13 (1): 1–14. http://www.moeck.com/uploads/tx_moecktables/1988-1.pdf
  • –––. (1637) 1987. Die Blasinstrumente aus der “Harmonie Universelle” des Marin Mersenne: Übersetzung und Kommentar des “Livre cinquiesme des instruments a vent” aus dem “Traité des instruments” [The Wind instruments from Marin Mersenne’s “Harmonie Universelle”:  Translation of and Commentary on the “Livre cinquiesme des instrumens à vent” from the “Traité des instruments”]. Translated by Köhler. Celle: Edition Moeck Nr. 4038.<
  • –––. (1637) 1963. Harmonie universelle, condenant la théorie et la pratique de la musique. Édition facsimilé de l’exemplaire conservé à Bibliothèque des arts et métiers et annoté par l’auteur. Edited by François Lesure. 3 vols. Centre National de la Rechereche Scientifique.
  • –––. (1637) 1957. Harmonie universelle: The Books on Instruments. Translated by Roger E. Chapman. The Hague: Martinus Nijhoff.
  • –––. 1637. Seconde partie de l’harmonie universelle … [Second Part of ‘Universal Harmony’ …]. Paris: Pierre Ballard. http://imslp.org/wiki/Harmonie_universelle_(Mersenne,_Marin)
  • Moens-Haenen, Greta. 1988. Das Vibrato in der Musik des Barock: ein Handbuch zur Aufführungspraxis fur Vokalisten und Instrumentalisten [Vibrato in the Music of the Baroque: a Handbook of Performance Practice for Sinngers and Instrumentalists]. Graz: Akademische Druck – u. Verlagsanstalt.
  • Moens-Haenen, Greta. 2001. “Vibrato.” In The New GROVE Dictionary of Music and Musicians Online, edited by Stanley J. Sadie. Basingstoke: Macmillan. http://www.oxfordmusiconline.com/public/book/omo_gmo.
  • Montgomery, David. 2003. “The Vibrato Thing.” http://douglasniedt.com/TechTipVibratoPart3TheVibratoThingByDavidMontgomery.pdf.
  • Neumann, Frederick. 1978. Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J.S. Bach. 3rd ed. Princeton: Princeton University Press.
  • Neumann, Frederick, and Jane R. Stevens. 1993. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer.
  • O’Kelly, Eve. 1990. The Recorder Today. Cambridge: Cambridge University Press.
  • –––. 1995. “The Recorder Revival. II, the Twentieth Century and Its Repertoire.” In The Cambridge Companion to the Recorder, edited by John Mansfield Thomson and Anthony Rowland-Jones, 152–66. Cambridge: Cambridge University Press.
  • Praetorius, Michael. 1619. Syntagma musicum ex veterum & recentiorum ecclesiasticorum authorum lectione, polyhistorum consignatione, variarum linguarum notatione, hodierne seculi usurpatione, ipsius denique musicæ artis obsrvatione: in cantorum, organistarum, organœoporum, cæterorumque; musiciam scientiam amantium & tranctantium gratiam collectum; et secundum hunc generalem indicem toti operi præfixum, in quatuor tomos distributum, à Michaele Praetorio Creutzbergensi …  A musical treatise gathered from a reading of old and new ecclesiastical authors, from the teaching of learned men, from writings in various languages, from modern usage, and finally from observation of the art of music itself: for the benefit of signers, instrumentalists, instrument makers, and others who love and deal with the science of music; arranged in four volumes according to this general index prefixed to the whole work by Michael Praetorius of Kreuzburg …. Vol. 2: De Organographia [On musical instruments]. Wolfenbüttel: Elias Holwein. http://imslp.org/wiki/Syntagma_Musicum_(Praetorius,_Michael).
  • Quantz, Johann J. 1752a. Essai d’une mé pour apprendre à jouer de la flûte traversiere [Essay on How to Play the Flute]. Berlin: Chrétien Frédéric Voss. https://archive.org/details/essaidunemthode00quangoog
  • –––. 1752b. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Berlin: Chrétien Frédéric Voss. http://imslp.org/wiki/Versuch_einer_Anweisung_die_Flöte_traversiere_zu_spielen_(Quantz,_Johann_Joachim)
  • –––. (1789) 1953. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Edited by Hans-Peter Schmitz. Domumenta musicologica 1. Reihe: Druckshcriften-Faksimiles, 2. Kassel: Bärenreiter.
  • –––. (1752) 1975. Essai d’une mé pour apprendre à jouer de la flûte traversiere [Essay on How to Play the Flute]. 2nded. Paris: Editions Aug. Zurfluh.
  • –––. (1752a) 1988. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Edited by Barthold Kuijken. Weisbaden: Breitkopf & Härtel.
  • –––. (1752b) 1988. Versuch einer Anweisung die Flöte tranversiere zu spielen [Essay on How to Play the Flute]. Munich; Kassel: Deutscher Taschenbuch Verlag; Bärenreiter.
  • –––. (1757) 2001. On Playing the Flute. Edited and translated by Edward R. Reilly. 2nd ed. Lebanon (NH): Northeastern University.
  • Read, Robin. 1966. “Recorder Tone.” Recorder and Music Magazine 2 (1): 7–9.
  • Rockstro, Richard S. 1967. Treatise on the Construction, the History and the Practice of the Flute, Including a Sketch of the Elements of Acoustics and Critical Notes of Sixty Celebrated Flute-Players. 2nd ed. London: Musica Rara.
  • Rowland-Jones, Anthony. 2003. A Practice Book for the Treble Recorder. 2nd ed. Hebden Bridge: Ruxbury Publications.
  • –––. 2003. Recorder Technique, Intermediate to Advanced. 3rd ed. Hebden Bridge: Ruxbury Publications.
  • Salter, Humphrey. 1683. The Genteel Companion: Being Exact Directions for the Recorder: With a Collection of the Best and Newest Tunes and Grounds Extant. London: Printed for Richard Hunt & Humphrey Salter.
  • Seashore, Carl E. 1936. Psychology of the Vibrato in Voice and Instrument. Vol. 3. Studies in the Psychology of Music. Iowa City: University Press.
  • –––. 1932. The Vibrato. University of Iowa Studies, New Series 225. Iowa City: Univeristy Press.
  • Sterne, Colin. 1977. “Quavering, Quivering, and J.J. Quantz.” American Recorder 18 (3): 71–72.
  • Toff, Nancy. 1996. The Flute Book: A Complete Guide for Teachers and Players. 2nd ed. Oxford: Oxford University Press.
  • Tromlitz, Johann George. 1791. Ausführlicher und gründlicher Unterricht die Flöte zu spielen [A Complete and Thorough Method for Playing the Flute]. Leipzig: Adam Friedrich Böhme. http://imslp.org/wiki/Ausf%C3%BChrlicher_und_gr%C3%BCndlicher_Unterricht_die_Fl%C3%B6te_zu_spielen_(Tromlitz,_Johann_George).
  • Van Gele, Geert. 2019. Thoughts on the Recorder. Borgerhout: InterCulturate. http://www.kattenbergrecordings.be/geertvangele/Thoughts.html.
  • Veilhan, Jean-Claude. 1979. The Rules of Musical Interpretation in the Baroque Era. Translated by John Lambert. Paris: Leduc.
  • Vetter, Michael. 1969. Il flauto dolce ed acerbo [The Sweet and Bitter Flute]. Celle: Edition Moeck 4009.
  • Waitzman, Daniel. 1978. The Art of Playing the Recorder. New York: AMS Press.
  • Weisber, Arthur. 1975. The Art of Wind Playing. New York: Macmillan.
  • Winckel, Fritz. 1967. Music, Sound and Sensation – a Modern Exposition. New York: Dover Publications.
  • Winters, Ross. 1992. “Historical Source Material.” Recorder Magazine 12 (3): 77–81.
  • Wollitz, Ken. 1982. The Recorder Book. New York: Alfred A. Knopf.
  • Zimmermann, Manfredo. 1994. “Messa Di Voce on the Recorder—a Mere Wish.” ERTA Newletter (UK), no. 6.