Journal Indexes

AMIS Journal

INDEX

Articles are indexed from Volume 1 (1975) through Volume 32 (2006)

Reviews are indexed from Volume 1 (1975) through Volume 42 (2016)

This index consists of separate sections for articles and reviews. For articles there are three alphabetical lists, arranged respectively by author, title, and subject matter. (Letters to the editor appear under "Communications" in the title list, with a cross-reference from the writer's name, but are not included in the subject index.) The three lists for reviews provide access by author, title, and reviewer. Lists of recent publications, though appearing in every volume, are not included.

In all entries, volume, year, and page references take the form volume (year): page (using arabic numerals throughout). The Journal is also indexed in RILM Abstracts of Music Literature and The Music Index.

Editors

Thomas Forrest Kelly 1 (1975) - 4 (1978)
William E. Hettrick 5-6 (1979-80) - 11 (1985)
Martha Maas 12 (1986) - 15 (1989)
Arthur Lawrence 16 (1990) - 18 (1992)
William E. Hettrick interim editor 18 (1992)
Martha Novak Clinkscale 19 (1993) - 22 (1996)
Thomas G. MacCracken 23 (1997) - 32 (2006)
Janet K. Page 33 (2007) - 37 (2011)
Allison A. Alcorn 38 (2012) - 43 (2017)
James B. Kopp 44 (2018) -

Associate Editor

Carolyn Bryant 28 (2002)-

Review Editors

Jane Bowers 3 (1977) - 7 (1981)
Martha Maas 8 (1982) - 11 (1985)
Kenton T. Meyer 12 (1986) - 23 (1997)
Carolyn Bryant 24 (1998) - 29 (2003)
Janet K. Page 30 (2004) - 32 (2006)
James B. Kopp 33 (2007) - 36 (2010)
Albert R. Rice 37 (2011) -

Articles by Author

Adkins, Cecil. The German Oboe in the Eighteenth Century. 27 (2001): 5–47.

Adkins, Cecil. Oboes Beyond Compare: The Instruments of Hendrik and Fredrik Richters. 16 (1990): 42–117.

Adkins, Cecil. Proportions and Architectural Motives in the Design of the Eighteenth-Century Oboe. 25 (1999): 95–132.

Adkins, Cecil. William Milhouse and the English Classical Oboe. 22 (1996): 42–88.

Adkins, Cecil, and Alis Dickinson. Miniaturization of the Positive Organ, 1570–1750. 14 (1988): 5–37.

Adkins, Cecil, and Alis Dickinson. A Trumpet by Any Other Name: Toward an Etymology of the Trumpet Marine. 8 (1982): 5–15.

Banks, Margaret Downie, and James W. Jordan. C. G. Conn: The Man (1844–1931) and His Company (1874–1915). 14 (1988): 61–113.

Banks, Margaret Downie, see also Downie, Margaret Anne.

Barbieri, Patrizio. Giambattista Della Porta’s “Singing” Hydraulis and Other Expressive Devices for the Organ, c. 1560–1860. 32 (2006): 145–166.

Barbieri, Patrizio. Musical Instruments and Players in J.-A. Charles’s Acoustique(Paris, c. 1787–1802) and Other French Technical Sources. 23 (1997):94–120.

Barnett, Gregory. The Violoncello da Spalla: Shouldering the Cello in the Baroque Era. 24 (1998): 81–106.

Barry, Wilson. Henri Arnaut de Zwolle’s Clavicordium and the Origin of the Chekker. 11 (1985): 5–13.

Barry, Wilson. The Lodewyk Theewes Claviorganum and its Position in the History of Keyboard Instruments. 16 (1990): 5–41.

Barry, Wilson. The Scaling of Flemish Virginals and Harpsichords. 17 (1991): 115–35.

Barry, Wilson. Theophilus on Making Organ Pipes. 15 (1989): 74–89.

Beare, Charles, see Communications.

Bernardini, Alfredo. Woodwind Makers in Venice, 1790–1900. 15 (1989): 52–73.

Bloom, Peter H., see Communications.

Bonta, Stephen. Catline Strings Revisited. 14 (1988): 38–60.

Bonta, Stephen. From Violone to Violoncello: A Question of Strings? 3 (1977): 64–99.

Bonta, Stephen. Terminology for the Bass Violin in Seventeenth-Century Italy. 4 (1978): 5–42.

Borg-Cardona, Anna. The Maltese Friction Drum. 28 (2002): 174–210.

Boutersee, Jan. The Deutsche Schalmeien of Richard Haka. 25 (1999): 61–94.

Bouterse, Jan, see Communications.

Bowers, Jane. New Light on the Development of the Transverse Flute between about 1650 and about 1770. 3 (1977): 5–56.

Bowles, Edmund A. Iconography as a Tool for Examining the Loud Consort in the Fifteenth Century. 3 (1977): 100–21.

Bowles, Edmund A. Mendelssohn, Schumann, and Ernst Pfundt: A Pivotal Relationship between Two Composers and a Timpanist. 24 (1998): 5–26.

Bowles, Edmund A. Nineteenth-Century Innovations in the Use and Construction of the Timpani. 5–6 (1979–80): 74–143.

Bowles, Edmund A. On Using the Proper Tympani in the Performance of Baroque Music. 2 (1976): 56–68.

Brauchli, Bernard. Aspects of Early Keyboard Technique: Hand and Finger Positions, as Seen in Early Treatises and Iconographical Documents. Part 1, 18 (1992): 62–102; Part 2, 20 (1994): 90–110.

Brauchli, Bernard. The Clavichord in Christian Friedrich Gottlieb Thon’s Keyboard Manual, Ueber Klavierinstrumente (1817). 9 (1983): 68–88.

Brown, Howard Mayer. Notes (and Transposing Notes) on the Transverse Flute in the Early Sixteenth Century. 12 (1986): 5–39.

Bryant, Wanda. The Keyless Double Reed Aerophone: Its Usage, Construction, and Worldwide Distribution. 16 (1990): 132–76.

Bukalski, Peter J., see Rice, Albert R., and Peter J. Bukalski.

Carter, Stewart. The Gütter Family: Wind Instrument Makers and Dealers to the Moravian Brethren in America. 27 (2001): 48–83.

Charry, Eric. West African Harps. 20 (1994): 5–53.

Chow, Fong. Han Dynasty Musicians and Instruments. 1 (1975): 113–25.

Clinkscale, Martha Novak, see Communications.

Cohen, Albert. Jean Marius’ Clavecin brisé and Clavecin à maillets Revisited: The “Dossier Marius” at the Paris Academy of Sciences. 13 (1987): 23–38.

Coltman, John W. Theobald Boehm and the Scale of the Modern Flute. 9 (1983): 89–111.

Coltman, John W., see Communications.

Crane, Frederick. Tobias Schönfeld’s Compendium instrumentorum musicalium(Liegnitz, 1625). 5–6 (1979–80): 37–41.

Crane, Frederick, see Communications.

Davis, Shelley. The Orchestra under Clemens Wenzeslaus: Music at a Late-Eighteenth-Century Court. 1 (1975): 86–112.

DeVale, Sue Carole. Musical Instruments and Ritual: A Systematic Approach. 14 (1988): 126–60.

Dickinson, Alis, see Adkins, Cecil, and Alis Dickinson.

Dobney, Jayson. The Creation of the Trap Set and its Development Before 1920. 30 (2004): 24–56.

Dowd, William R. A Classification System for Ruckers and Couchet Double Harpsichords. 4 (1978): 106–13.

Downie, Margaret Anne. The Modern Greek Lyra. 5–6 (1979–80): 144–65.

Downie, Margaret, see also Banks, Margaret Downie.

Dudgeon, Ralph T. Joseph Haliday, Inventor of the Keyed Bugle. 9 (1983): 53–67.

Eliason, Robert E. Brasses with Both Keys and Valves. 2 (1976): 69–85.

Eliason, Robert E. Bugles Beyond Compare: The Presentation E-flat Keyed Bugle in Mid-Nineteenth-Century America. 31 (2005): 67–132.

Eliason, Robert E. Charles G. Christman, Musical Instrument Maker in Nineteenth-Century New York. 27 (2001): 84–120.

Eliason, Robert E. The Dresden Key Bugle. 3 (1977): 57–63.

Eliason, Robert E. George Catlin, Hartford Musical Instrument Maker. Part 1, 8 (1982): 16–37; Part 2, 9 (1983): 21–52.

Eliason, Robert E. Letters to Marsh & Chase from Graves & Company, Musical Instrument Makers. 4 (1978): 43–53.

Eliason, Robert E. The Meachams, Musical Instrument Makers of Hartford and Albany. 5–6 (1979–80): 54–73.

Eliason, Robert E. Rhodolph Hall: Nineteenth-Century Keyed Bugle, Cornet, and Clarinet Soloist. 29 (2003): 5–71.

Eliason, Robert E., see Communications.

Ellsworth, Jane. Early American Clarinet Makers and Sellers, 1761–1820. 32 (2006): 80–123.

Germann, Sheridan. Regional Schools of Harpsichord Decoration. 4 (1978): 54–105.

Gétreau, Florence. Recent Research about the Voboam Family and Their Guitars. 31 (2005): 5–66.

Good, Edwin M., see Communications.

Greenberg, Michael D. The Double-Bass Class at the Paris Conservatory, 1826–1832. 26 (2000): 83–140.

Greenberg, Michael D. Musical Instruments in the Archives of the French Court: The Argenterie, Menus Plaisirs et Affaires de la Chambre, 1733–1792. 32 (2006): 5–79.

Greenberg, Michael D., see Communications.

Griswold, Harold E. Changes in the Tonal Character of the Eighteenth-Century French Bassoon. 14 (1988): 114–25.

Haefer, J. Richard. North American Indian Musical Instruments: Some Organological Distribution Problems. 1 (1975): 56–85.

Hartley, John D., see Payne, Richard W., and John D. Hartley.

Haynes, Bruce. Johann Sebastian Bach’s Pitch Standards: The Woodwind Perspective. 11 (1985): 55–114.

Haynes, Bruce. Questions of Tonality in Bach’s Cantatas: The Woodwind Perspective. 12 (1986): 40–67.

Haynes, Bruce. “Sweeter than Hautbois”: Towards a Conception of the Schalmey of the Baroque Period. 26 (2000): 57–82.

Hettrick, William E. The Dolceola: A Story of Musical Enterprise in Toledo, Ohio. 26 (2000): 141–186.

Hettrick, William E. Harry Edward Freund’s Great Square-Piano Bonfire: A Tale Told in the Press. 30 (2004): 57–97.

Hettrick, William E. Identifying and Defining the Ruszpfeif: Some Observations and Etymological Theories. 17 (1991): 53–68.

Hettrick, William E., see Communications.

Heyde, Herbert. The Early Berlin Valve and an Unsigned Tuba at the Shrine to Music Museum. 20 (1994): 54–64.

Higbee, Dale. Recorders in Bach Cantata 161, Komm, du süße Todesstunde. 17 (1991): 83–84.

Hoag, Barbara Brewster. A Spanish Clavichord Tuning of the Seventeenth Century. 2 (1976): 86–95.

Hoover, Cynthia Adams. The Steinways and Their Pianos in the Nineteenth Century. 7 (1981): 47–89.

Howe, Robert S. The Invention and Early Development of the Saxophone, 1840–55. 29 (2003): 97–180.

Howe, Robert, see Communications.

Howe, Robert, and Peter Hurd. The Heckelphone at 100. 30 (2004): 98–165.

Howell, Standley. Paulus Paulirinus of Prague on Musical Instruments. 5–6 (1979–80): 9–36.

Howell, Standley. Ramos de Pareja’s “Brief Discussion of Various Instruments”. 11 (1985): 14–37.

Huehns, Colin. Dating Old Huqin: New Research on Examples of pre-1949 Instruments in Three Major British Collections. 28 (2002): 118–173.

Hurd, Peter, see Howe, Robert.

Johnson, Henry M. The Koto: Musical Instrument, Material Culture, and Meaning. 23 (1997): 56–93.

Johnson, Henry M. Traditions Old and New: Continuity, Change, and Innovation in Japanese Koto-Related Zithers. 29 (2003): 181–229.

Joppig, Gunther. Sarrusophone, Rothphone (Saxorusophone), and Reed Contrabass. 12 (1986): 68–106.

Jordan, James W., see Banks, Margaret Downie, and James W. Jordan.

Kaufman, Charles H. Musical-Instrument Makers in New Jersey, 1796–1860. 2 (1976): 5–33.

Klaus, Sabine K. German Square and Harp-Shaped Pianos with Stoßmechanik in American Collections: Distinguishing Characteristics of Regional Types in the Eighteenth and Early Nineteenth Centuries. 27 (2001): 120–182.

Klaus, Sabine K. German Square Pianos with Prellmechanik in Major American Museum Collections: Distinguishing Characteristics of Regional Schools in the Late Eighteenth and Early Nineteenth Centuries. 24 (1998): 27–80.

Klitz, Brian. The Bassoon in Chamber Music of the Seventeenth Century. 9 (1983): 5–20.

Koeppe, Douglas. see Communications.

Kopp, James B. Notes on the Bassoon in Seventeenth-Century France. 17 (1991): 85–114.

Kopp, James B. Precursors of the Bassoon in France before Louis XIV. 28 (2002): 63–117.

Koster, John. The Divided Bridge, Due Tension, and Rational Striking Point in Early English Grand Pianos. 23 (1997): 5–55.

Koster, John. Michael Praetorius’s Pfeifflin zur Choprmaß. 30 (2004): 5–23.

Koster, John, see Communications.

Lehman, Robert A. Preparation and Management of a Descriptive Inventory for a Collection of Flutes. 12 (1986): 137–48.

Kuronen, Darcy. Early Violin Making in New England. 28 (2002): 5–62.

Kuronen, Darcy. James A. Bazin and the Development of Free-Reed Instruments in America. 31 (2005): 133–182.

Kuronen, Darcy, see Communications.

Levin, Simon. Collecting of Musical Instruments in Russia and the Soviet Union. 16 (1990): 118–31.

Libin, Laurence. John Huber Revisited. 20 (1994): 73–83.

Libin, Laurence. John Huber’s Pianos in Context. 19 (1993): 5–37.

Libin, Laurence. Progress, Adaptation, and the Evolution of Musical Instruments. 26 (2000): 187–213.

Lott, R. Allen. Chickering, Steinway, and Three Nineteenth-Century European Piano Virtuosos. 21 (1995): 65–85.

Maas, Martha. The Phorminx in Classical Greece. 2 (1976): 34–55.

Marissen, Michael. Organological Questions and Their Significance in J. S. Bach’s Fourth Brandenburg Concerto. 17 (1991): 5–52.

Martin, Lynn Wood. The Colonna-Stella Sambuca lincea, an Enharmonic Keyboard Instrument. 10 (1984): 5–21.

Matusky, Patricia. Musical Instruments and Musicians of the Malay Shadow Puppet Theater. 8 (1982): 38–68.

McGeary, Thomas. German-Austrian Keyboard Temperaments and Tuning Methods, 1770–1840: Evidence from Contemporary Sources. 15 (1989): 90–118.

McGeary, Thomas. Harpsichord Mottoes. 7 (1981): 5–35.

Meer, John Henry van der. The Typology and History of the Bass Clarinet. 13 (1987): 65–88.

Meer, John Henry van der, see Communications.

Mobbs, Kenneth, see Communications.

Oleskiewicz, Mary. A Museum, a World War, and a Rediscovery: Flutes by Quantz and Others from the Hohenzollern Museum. 24 (1998): 107–145.

Olsen, Dale A. The Flutes of El Dorado: An Archaeomusicological Investigation of the Tairona Civilization of Colombia. 12 (1986): 107–36.

Owen, Barbara, see Communications.

Pascual, Beryl Kenyon de. The One-Man Band in Eighteenth-Century Spain and Instrument No. 89.4.1039. 20 (1994): 65–72.

Payne, Richard W. Indian Flutes of the Southwest. 15 (1989): 5–31.

Payne, Richard W., and John D. Hartley. Pre-Columbian Flutes of Mesoamerica. 18 (1992): 22–61.

Peppers, Emily. Richard Hume and Viol Making in Early Sixteenth-Century Britain. 32 (2006): 124–144

Pinel, Stephen L. Thomas and William Robjohn: A Study of Innovative Organ Building. 19 (1993): 65–104.

Pollens, Stewart. The Bonafinis Spinet: An Early Harpsichord Converted into a Tangent Piano. 13 (1987): 5–22.

Pollens, Stewart. The Pianos of Bartolomeo Cristofori. 10 (1984): 32–68.

Poulin, Pamela L. Anton Stadler’s Basset Clarinet: Recent Discoveries in Riga. 22 (1996): 110–127.

Poulin, Pamela L., see Communications.

Powell, Ardal. The Tromlitz Flute. 22 (1996): 89–109.

Powley, Harrison. The Drum Tablature Tradition of American Military Music of the Early Nineteenth Century: Levi Lovering’s The Drummers Assistant, or the Art of Drumming Made Easy. 21 (1995): 5–29.

Quigley, Sam. The Raffles Gamelan at Claydon House. 22 (1996): 5–41.

Rice, Albert R. The Clarinet as Described by Lorents Nicolai Berg (1782). 5–6 (1979–80): 42–53.

Rice, Albert R. The Musical Instrument Collection of Michiel van Bolhuis (1764). 18 (1992): 5–21.

Rice, Albert R., see Communications.

Rice, Albert R., and Peter J. Bukalski. Two Reed Contrabasses (Contrabassi ad ancia) at Claremont. 11 (1985): 115–22.

Rice, John A. Anton Walter, Instrument Maker to Leopold II. 15 (1989): 32–51.

Rice, John A. Stein’s “Favorite Instrument”: A Vis-à-vis Piano-Harpsichord in Naples. 21 (1995): 30–64.

Richards, James H. Reed Organ Coverage in The New Grove. 8 (1982): 69–78.

Schechter, John M. The Diatonic Harp in Ecuador: Historical Background and Modern Traditions. Part 1, 10 (1984): 97–118; Part 2, 11 (1985): 123–73.

Schott, Howard M., see Communications.

Selch, Frederick R. Some Moravian Makers of Bowed Stringed Instruments. 19 (1993): 38–64.

Semmens, Richard. The Bassoons in Marin Mersenne’s Harmonie universelle (1636). 10 (1984): 22–31.

Signell, Karl. The Mystique of the Shakuhachi. 7 (1981): 90–98.

Simonson, Linda. A Burmese Arched Harp (Saùng-gauk) and Its Pervasive Buddhist Symbolism. 13 (1987): 39–64.

Snedeker, Jeffrey L. Fétis and the “Meifred” Horn. 23 (1997): 121–146.

Spohr, Peter. Some Early American Boehm Flutes. 25 (1999): 5–30.

Stewart, Gary M. The Restoration of a 1608 Trombone by Jacob Bauer, Nuremberg. 8 (1982): 79–92.

Sutherland, David. Bartolomeo Cristofori’s Paired Cembalos of 1726. 26 (2000): 5–56.

Thompson, Susan E. Deutsche Schalmei: A Question of Terminology. 25 (1999): 31–60.

Thompson, Susan E., see Communications.

Topham, John. A Dendrochronological Study of Violins Made by Antonio Stradivari. 29 (2003): 72–96.

Tyler, James, see Communications.

Vance, Stuart-Morgan. Carte’s Flute Patents of the Mid-Nineteenth Century and Related Systems. 13 (1987): 89–106.

Vogel, Benjamin. Two Tangent Square Pianos in Poland. 20 (1994): 84–89.

Watson, John R. Historical Musical Instruments: A Claim to Use, an Obligation to Preserve. 17 (1991): 69–82.

White, Paul. Early Bassoon Reeds: A Survey of Some Important Examples. 10 (1984): 69–96.

Williams, Peter. Was Johann Sebastian Bach an Organ Expert or an Acquisitive Reader of Andreas Werckmeister? 11 (1985): 38–54.

Witten, Laurence C., II. Apollo, Orpheus, and David. 1 (1975): 5–55.

Young, Phillip T. A Bass Clarinet by the Mayrhofers of Passau. 7 (1981): 36–46.

Articles by title

Articles by Title

Anton Stadler’s Basset Clarinet: Recent Discoveries in Riga. Pamela L.Poulin. 22 (1996): 110–127.

Anton Walter, Instrument Maker to Leopold II. John A. Rice. 15 (1989): 32–51.

Apollo, Orpheus, and David. Laurence C. Witten, II. 1 (1975): 5–55.

Aspects of Early Keyboard Technique: Hand and Finger Positions, as Seen in Early Treatises and Iconographical Documents. Bernard Brauchli. Part 1, 18 (1992): 62–102; Part 2, 20 (1994): 90–110.

Bartolomeo Cristofori’s Paired Cembalos of 1726. David Sutherland. 26 (2000): 5–56.

A Bass Clarinet by the Mayrhofers of Passau. Phillip T. Young. 7 (1981): 36–46.

The Bassoon in Chamber Music of the Seventeenth Century. Brian Klitz. 9 (1983): 5–20.

The Bassoons in Marin Mersenne’s Harmonie universelle (1636). Richard Semmens. 10 (1984): 22–31.

The Bonafinis Spinet: An Early Harpsichord Converted into a Tangent Piano.Stewart Pollens. 13 (1987): 5–22.

Brasses with Both Keys and Valves. Robert E. Eliason. 2 (1976): 69–85.

Bugles Beyond Compare: The Presentation E-flat Keyed Bugle in Mid-Nineteenth-Century America. Robert E. Eliason. 31 (2005): 76–132.

A Burmese Arched Harp (Saùng-gauk) and Its Pervasive Buddhist Symbolism.Linda Simonson. 13 (1987): 39–64.

Cabinets and Other Pianos. Edwin M. Good. See Communications.

Carte’s Flute Patents of the Mid-Nineteenth Century and Related Systems.Stuart-Morgan Vance. 13 (1987): 89–106.

Catline Strings Revisited. Stephen Bonta. 14 (1988): 38–60.

C. G. Conn: The Man (1844–1931) and His Company (1874–1915). Margaret Downie Banks and James W. Jordan. 14 (1988): 61–113.

Changes in the Tonal Character of the Eighteenth-Century French Bassoon.Harold E. Griswold. 14 (1988): 114–25.

Charles G. Christman, Musical Instrument Maker in Nineteenth-Century New York. Robert E. Eliason. 27 (2001): 84–120.

Chickering, Steinway, and Three Nineteenth-Century European Piano Virtuosos. R. Allen Lott. 21 (1995): 65–85.

Chinese Instruments from the Galpin Collection at the Boston Museum of Fine Arts. Darcy Kuronen. See Communications.

The Clarinet as Described by Lorents Nicolai Berg (1782). Albert R. Rice. 5–6 (1979–80): 42–53.

A Classification System for Ruckers and Couchet Double Harpsichords. William R. Dowd. 4 (1978): 106–13.

The Clavichord in Christian Friedrich Gottlieb Thon’s Keyboard Manual, Ueber Klavierinstrumente (1817). Bernard Brauchli. 9 (1983): 68–88.

Collecting of Musical Instruments in Russia and the Soviet Union. Simon Levin. 16 (1990): 118–31.

The Colonna-Stella Sambuca lincea, an Enharmonic Keyboard Instrument. Lynn Wood Martin. 10 (1984): 5–21.

Communications

Beare, Charles. 13 (1987): 129 [comments on Myron Rosenblum’s review of Alte Meistergeigen: Beschreibungen, Expertisen, vol. 5–8, JAMIS 12 (1986): 166–67].

Bloom, Peter H. Thomas Ryan Identified. 30 (2004): 190 [comments on Robert E. Eliason’s article, “Rhodolph Hall: Nineteenth-Century Keyed Bugle, Cornet, and Clarinet Soloist,” JAMIS 29 (2003): 5–71].

Bouterse, Jan. 26 (2000): 243–50 [expands on the final footnote of his article, “The Deutsche Schalmeien of Richard Haka,” JAMIS 25 (1999): 61–94, regarding Haka’s sale of instruments to the Swedish navy, giving a facsimile and transcription of his newly-discovered invoice dated 1685 together with some preliminary comments on it].

Clinkscale, Martha Novak. Pianos for the Cabinet. 21 (1995): 89–93 [responds to Communication from Kenneth Mobbs, JAMIS 20 (1994): 130–31].

Coltman, John W. 12 (1986): 177–78 [urges JAMIS to adopt the U.S.A. National Standards Institute system of pitch designation].

Crane, Frederick. 3 (1977): 137–138 [provides corrections to Fong Chow’s article, “Han Dynasty Musicians and Instruments,” JAMIS 1 (1975): 113–25].

Eliason, Robert E. 4 (1978): 143 [provides a correction to his article, “The Dresden Key Bugle,” JAMIS 3 (1977): 57–63].

Eliason, Robert E. More on Echo-Cornets. 30 (2004): 193–96 [provides an addendum to his article, “Rhodolph Hall: Nineteenth-Century Keyed Bugle, Cornet, and Clarinet Soloist,” JAMIS 29 (2003): 5–71].

Good, Edwin M. Cabinets and Other Pianos. 21 (1995): 86–89 [responds to Communication from Kenneth Mobbs, JAMIS 20 (1994): 130–31].

Greenberg, Michael D. 27 (2001): 216–19 [provides corrections and amplifications to his article “The Double-Bass Class at the Paris Conservatory, 1826–1832,” JAMIS26 (2000): 83–140].

Hettrick, William E. 13 (1987): 131–32 [comments on the proposal that JAMIS adopt the U.S.A. National Standards Institute system of pitch designation].

Howe, Robert. 25 (1999): 164–65 [comments on Cecil Adkins’s article, “William Milhouse and the English Classical Oboe,” JAMIS 22 (1996): 42–88.].

Koeppe, Douglas. An Eleven-Key Oboe by C. G. Christman. 30 (2004): 184–89 [provides an addendum to Robert E. Eliason’s article, “Rhodolph Hall: Nineteenth-Century Keyed Bugle, Cornet, and Clarinet Soloist,” JAMIS 29 (2003): 5–71].

Koster, John. 13 (1987): 130–31 [comments on the proposal that JAMIS adopt the U.S.A. National Standards Institute system of pitch designation].

Kuronen, Darcy. Chinese Instruments from the Galpin Collection at the Boston Museum of Fine Arts. 29 (2003): 271 [responds to Colin Huehns’s article, “Dating Old Huqin: New Research on Examples of pre-1949 Instruments in Three Major British Collections,” JAMIS 28 (2002): 118–173, noting that many of the instruments shown in Huehns’s figs. 10–11 are in the Museum of Fine Arts, Boston].

Meer, John Henry van der. 14 (1988): 187 [provides a correction to his article, “The Typology and History of the Bass Clarinet,” JAMIS 13 (1987): 87].

Mobbs, Kenneth. 23 (1997): 170 [responds to Communications by Edwin M. Good and Martha Novak Clinkscale, JAMIS 21 (1995): 86–93].

Owen, Barbara. 15 (1989): 138 [comments on Cecil Adkins and Alis Dickinson’s article, “Miniaturization of the Positive Organ, 1570–1750,” JAMIS 14 (1988): 5–37].

Poulin, Pamela L. 23 (1997): 171 [provides a correction of fig. 3 in her article, “Anton Stadler’s Basset Clarinet: Recent Discoveries in Riga,” JAMIS 22 (1996): 110–27].

Rice, Albert R. 12 (1986): 176–77 [relates the discovery by Herbert Heyde of Römhilder Kammerrechnungen with reference to Bruce Haynes’s article, “Johann Sebastian Bach’s Pitch Standards: The Woodwind Perspective,” JAMIS 11 (1985): 55–114; provides additional information regarding Rice and Peter J. Bukalski’s article, “Two Reed Contrabasses (Contrabassi ad ancia) at Claremont,” JAMIS 11 (1985): 115–22].

Rice, Albert R. 14 (1988): 187–90 [comments on John Henry van der Meer’s article, JAMIS 13 (1987)].

Rice, Albert R. “T. Ryan” Identified, and an Echo Mute at the Fiske Museum. 30 (2004): 191–92 [comments on Robert E. Eliason’s article, “Rhodolph Hall: Nineteenth-Century Keyed Bugle, Cornet, and Clarinet Soloist,” JAMIS 29 (2003): 5–71].

Schott, Howard M. 13 (1987): 132 [comments on the proposal that JAMIS adopt the U.S.A. National Standards Institute system of pitch designation].

Thompson, Susan E. Smaller than Hautbois: A Fresh Look at James Talbot’s Schalmeye. 28 (2002): 246–60 [provides corrections and amplifications to her article “Deutsche Schalmei: A Question of Terminology,” JAMIS 25 (1999): 31–60, giving a facsimile and diplomatic transcription of Talbot’s discussion of this and related instruments in Oxford, Christ Church Library, Music MS 1187].

Tyler, James. 13 (1987): 128 [responds to Cecil Adkins’s review of the New Grove Dictionary, JAMIS 12 (1986): 149–51].

The Creation of the Trap Set and its Development Before 1920. Jayson Dobney. 30 (2004): 24–56.

Dating Old Huqin: New Research on Examples of pre-1949 Instruments in Three Major British Collections. Colin Huehns. 28 (2002): 118–173.

A Dendrochronological Study of Violins Made by Antonio Stradivari. John Topham. 29 (2003): 72–96.

Deutsche Schalmei: A Question of Terminology. Susan E.Thompson. 25 (1999): 31–60.

The Deutsche Schalmeien of Richard Haka. Jan Boutersee. 25 (1999): 61–94.

The Diatonic Harp in Ecuador: Historical Background and Modern Traditions.John M. Schechter. Part 1, 10 (1984): 97–118; Part 2, 11 (1985): 123–73.

The Divided Bridge, Due Tension, and Rational Striking Point in Early English Grand Pianos. John Koster. 23 (1997): 5–55.

The Dolceola: A Story of Musical Enterprise in Toledo, Ohio. William E. Hettrick. 26 (2000): 141–186.

The Double-Bass Class at the Paris Conservatory, 1826–1832. Michael D. Greenberg. 26 (2000): 83–140.

The Dresden Key Bugle. Robert E. Eliason. 3 (1977): 57–63.

The Drum Tablature Tradition of American Military Music of the Early Nineteenth Century: Levi Lovering’s The Drummers Assistant, or the Art of Drumming Made Easy. Harrison Powley. 21 (1995): 5–29.

Early American Clarinet Makers and Sellers, 1761–1820. Jane Ellsworth. 32 (2006): 80–123.

Early Bassoon Reeds: A Survey of Some Important Examples. Paul White. 10 (1984): 69–96.

The Early Berlin Valve and an Unsigned Tuba at the Shrine to Music Museum.Herbert Heyde. 20 (1994): 54–64.

Early Violin Making in New England. Darcy Kuronen. 28 (2002): 5–62.

An Eleven-Key Oboe by C. G. Christman. Douglas Koeppe. See Communications.

Fétis and the “Meifred” Horn. Jeffrey L. Snedeker. 23 (1997): 121–146.

The Flutes of El Dorado: An Archaeomusicological Investigation of the Tairona Civilization of Colombia. Dale A. Olsen. 12 (1986): 107–36.

From Violone to Violoncello: A Question of Strings? Stephen Bonta. 3 (1977): 64–99.

George Catlin, Hartford Musical Instrument Maker. Robert E. Eliason. Part 1, 8 (1982): 16–37; Part 2, 9 (1983): 21–52.

German-Austrian Keyboard Temperaments and Tuning Methods, 1770–1840: Evidence from Contemporary Sources. Thomas McGeary. 15 (1989): 90–118.

The German Oboe in the Eighteenth Century. Cecil Adkins. 27 (2001): 5–47.

German Square and Harp-Shaped Pianos with Stoßmechanik in American Collections: Distinguishing Characteristics of Regional Types in the Eighteenth and Early Nineteenth Centuries. Sabine K. Klaus. 27 (2001): 120–182.

German Square Pianos with Prellmechanik in Major American Museum Collections: Distinguishing Characteristics of Regional Schools in the Late Eighteenth and Early Nineteenth Centuries. Sabine K. Klaus. 24 (1998): 27–80.

Giambattista Della Porta’s “Singing” Hydraulis and Other Expressive Devices for the Organ, c. 1560–1860. Patrizio Barbieri. 32 (2006): 145–166.

The Gütter Family: Wind Instrument Makers and Dealers to the Moravian Brethren in America. Stewart Carter. 27 (2001): 48–83.

Han Dynasty Musicians and Instruments. Fong Chow. 1 (1975): 113–25.

Harpsichord Mottoes. Thomas McGeary. 17 (1981): 5–35.

Harry Edward Freund’s Great Square-Piano Bonfire: A Tale Told in the Press. William E. Hettrick. 30 (2004): 57–97.

The Heckelphone at 100. Robert Howe and Peter Hurd. 30 (2004): 98–165.

Henri Arnaut de Zwolle’s Clavicordium and the Origin of the Chekker. Wilson Barry. 11 (1985): 5– 13.

Historical Musical Instruments: A Claim to Use, an Obligation to Preserve. John R. Watson. 17 (1991): 69–82.

Iconography as a Tool for Examining the Loud Consort in the Fifteenth Century.Edmund A. Bowles. 3 (1977): 100–121.

Identifying and Defining the Ruszpfeif: Some Observations and Etymological Theories. William E. Hettrick. 17 (1991): 53–68.

Indian Flutes of the Southwest. Richard W. Payne. 15 (1989): 5–31.

The Invention and Early Development of the Saxophone, 1840–55. Robert S. Howe. 29 (2003): 97–180.

James A. Bazin and the Development of Free-Reed Instruments in America. Darcy Kuronen. 31 (2005): 133–182.

Jean Marius’ Clavecin brisé and Clavecin à maillets Revisited: The “Dossier Marius” at the Paris Academy of Sciences. Albert Cohen. 13 (1987): 23–38.

Johann Sebastian Bach’s Pitch Standards: The Woodwind Perspective. Bruce Haynes. 11 (1985): 55–114.

John Huber Revisited. Laurence Libin. 20 (1994): 73–83.

John Huber’s Pianos in Context. Laurence Libin. 19 (1993): 5–37.

Joseph Haliday, Inventor of the Keyed Bugle. Ralph T. Dudgeon. 9 (1983): 53–67.

The Keyless Double Reed Aerophone: Its Usage, Construction, and Worldwide Distribution. Wanda Bryant. 16 (1990): 132–76.

The Koto: Musical Instrument, Material Culture, and Meaning. Henry M. Johnson. 23 (1997): 56–93.

Letters to Marsh & Chase from Graves & Company, Musical Instrument Makers.Robert E. Eliason. 4 (1978): 43–53.

The Lodewyk Theewes Claviorganum and its Position in the History of Keyboard Instruments. Wilson Barry. 16 (1990): 5–41.

The Maltese Friction Drum. Anna Borg-Cardona. 28 (2002): 174–210.

The Meachams, Musical Instrument Makers of Hartford and Albany. Robert E. Eliason. 5–6 (1979–80): 54–73.

Mendelssohn, Schumann, and Ernst Pfundt: A Pivotal Relationship between Two Composers and a Timpanist. Edmund A. Bowles. 24 (1998): 5–26.

Michael Praetorius’s Pfeifflin zur Chormaß. John Koster. 30 (2004): 5–23.

Miniaturization of the Positive Organ, 1570–1750. Cecil Adkins and Alis Dickinson. 14 (1988): 5–37.

The Modern Greek Lyra. Margaret Anne Downie. 5–6 (1979–80): 144–65.

More on Echo-Cornets. Robert E. Eliason. See Communications.

A Museum, a World War, and a Rediscovery: Flutes by Quantz and Others from the Hohenzollern Museum. Mary Oleskiewicz. 24 (1998): 107–145.

The Musical Instrument Collection of Michiel van Bolhuis (1764). Albert R. Rice. 18 (1992): 5–21.

Musical-Instrument Makers in New Jersey, 1796–1860. Charles H. Kaufman. 2 (1976): 5–33.

Musical Instruments and Musicians of the Malay Shadow Puppet Theater.Patricia Matusky. 8 (1982): 38–68.

Musical Instruments and Players in J.-A. Charles’s Acoustique (Paris, c. 1787–1802) and Other French Technical Sources. Patrizio Barbieri. 23 (1997):94–120.

Musical Instruments and Ritual: A Systematic Approach. Sue Carole Devale. 14 (1988): 126–60.

Musical Instruments in the Archives of the French Court: The Argenterie,Menus Plaisirs et Affaires de la Chambre, 1733–1792. Michael D. Greenberg. 32 (2006): 5–79.

The Mystique of the Shakuhachi. Karl Signell. 7 (1981): 90–98.

New Light on the Development of the Transverse Flute between about 1650 and about 1770. Jane Bowers. 3 (1977): 5–56.

Nineteenth-Century Innovations in the Use and Construction of the Timpani.Edmund A. Bowles. 5–6 (1979–80): 74–143.

North American Indian Musical Instruments: Some Organological Distribution Problems. J. Richard Haefer. 1 (1975): 56–85.

Notes (and Transposing Notes) on the Transverse Flute in the Early Sixteenth Century. Howard Mayer Brown. 12 (1986): 5–39.

Notes on the Bassoon in Seventeenth-Century France. James B. Kopp. 17 (1991): 85–114.

Oboes Beyond Compare: The Instruments of Hendrik and Fredrik Richters.Cecil Adkins. 16 (1990): 42–117.

The One-Man Band in Eighteenth-Century Spain and Instrument No. 89.4.1039.Beryl Kenyon de Pascual. 20 (1994): 65–72.

On Using the Proper Tympani in the Performance of Baroque Music. Edmund A. Bowles. 2 (1976): 56–68.

The Orchestra under Clemens Wenzeslaus: Music at a Late-Eighteenth-Century Court. Shelley Davis. 1 (1975): 86–112.

Organological Questions and Their Significance in J. S. Bach’s Fourth Brandenburg Concerto. Michael Marissen. 17 (1991): 5–52.

Paulus Paulirinus of Prague on Musical Instruments. Standley Howell. 5–6 (1979–80): 9–36.

The Phorminx in Classical Greece. Martha Maas. 2 (1976): 34–55.

Pianos for the Cabinet. Martha Novak Clinkscale. See Communications.

The Pianos of Bartolomeo Cristofori. Stewart Pollens. 10 (1984): 32–68.

Pre-Columbian Flutes of Mesoamerica. Richard W. Payne and John D. Hartley. 18 (1992): 22–61.

Precursors of the Bassoon in France before Louis XIV. James B. Kopp. 28 (2002): 63–117.

Preparation and Management of a Descriptive Inventory for a Collection of Flutes. Robert A. Lehman. 12 (1986): 137–48.

Progress, Adaptation, and the Evolution of Musical Instruments. Laurence Libin. 26 (2000): 187–213.

Proportions and Architectural Motives in the Design of the Eighteenth-Century Oboe. Cecil Adkins. 25 (1999): 95–132.

Questions of Tonality in Bach’s Cantatas: The Woodwind Perspective. Bruce Haynes. 12 (1986): 40–67.

The Raffles Gamelan at Claydon House. Sam Quigley. 22 (1996): 5–41.

Ramos de Pareja’s “Brief Discussion of Various Instruments”. Standley Howell. 11 (1985): 14–37.

Recent Research about the Voboam Family and Their Guitars. Florence Gétreau. 31 (2005): 5–66.

Recorders in Bach Cantata 161, Komm, du süße Todesstunde. Dale Higbee. 17 (1991): 83–84.

Reed Organ Coverage in The New Grove. James H. Richards. 8 (1982): 69–78.

Regional Schools of Harpsichord Decoration. Sheridan Germann. 4 (1978): 54–105.

The Restoration of a 1608 Trombone by Jacob Bauer, Nuremberg. Gary M. Stewart. 8 (1982): 79–92.

Rhodolph Hall: Nineteenth-Century Keyed Bugle, Cornet, and Clarinet Soloist. Robert E. Eliason. 29 (2003): 5–71.

Richard Hume and Viol Making in Early Sixteenth-Century Britain. Emily Peppers. 32 (2006): 124–144.

Sarrusophone, Rothphone (Saxorusophone), and Reed Contrabass. Gunther Joppig. 12 (1986): 68–106.

The Scaling of Flemish Virginals and Harpsichords. Wilson Barry. 17 (1991): 115–35.

Smaller than Hautbois: A Fresh Look at James Talbot’s Schalmeye. Susan E. Thompson. See Communications.

Some Early American Boehm Flutes. Peter Spohr. 25 (1999): 5–30.

Some Moravian Makers of Bowed Stringed Instruments. Frederick R. Selch. 19 (1993): 38–64.

A Spanish Clavichord Tuning of the Seventeenth Century. Barbara Brewster Hoag. 2 (1976): 86–95.

Stein’s “Favorite Instrument”: A Vis-à-vis Piano-Harpsichord in Naples. John A. Rice. 21 (1995): 30–64.

The Steinways and Their Pianos in the Nineteenth Century. Cynthia Adams Hoover. 7 (1981): 47–89.

“Sweeter than Hautbois”: Towards a Conception of the Schalmey of the Baroque Period. Bruce Haynes. 26 (2000): 57–82.

Terminology for the Bass Violin in Seventeenth-Century Italy. Stephen Bonta. 4 (1978): 5–42.

Theobald Boehm and the Scale of the Modern Flute. John W. Coltman. 9 (1983): 89–111.

Theophilus on Making Organ Pipes. Wilson Barry. 15 (1989): 74–89.

Thomas and William Robjohn: A Study of Innovative Organ Building. Stephen L. Pinel. 19 (1993): 65–104.

Thomas Ryan Identified. Peter H. Bloom. See Communications.

Tobias Schönfeld’s Compendium instrumentorum musicalium (Liegnitz, 1625).Frederick Crane. 5–6 (1979–80): 37–41.

Traditions Old and New: Continuity, Change, and Innovation in Japanese Koto-Related Zithers. Henry M. Johnson. 29 (2003): 181–229.

The Tromlitz Flute. Ardal Powell. 22 (1996): 89–109.

A Trumpet by Any Other Name: Toward an Etymology of the Trumpet Marine.Cecil Adkins and Alis Dickinson. 8 (1982): 5–15.

“T. Ryan” Identified, and an Echo Mute at the Fiske Museum. Albert R. Rice. See Communications.

Two Reed Contrabasses (Contrabassi ad ancia) at Claremont. Albert R. Rice and Peter J. Bukalski. 11 (1985): 115–22.

Two Tangent Square Pianos in Poland. Benjamin Vogel. 20 (1994): 84–89.

The Typology and History of the Bass Clarinet. John Henry van der Meer. 13 (1987): 65–88.

The Violoncello da Spalla: Shouldering the Cello in the Baroque Era. Gregory Barnett. 24 (1998): 81–106.

Was Johann Sebastian Bach an Organ Expert or an Acquisitive Reader of Andreas Werckmeister? Peter Williams. 11 (1985): 38–54.

West African Harps. Eric Charry. 20 (1994): 5–53.

William Milhouse and the English Classical Oboe. Cecil Adkins. 22 (1996): 42–88.

Woodwind Makers in Venice, 1790–1900. Alfredo Bernardini. 15 (1989): 52–73

articles by subject

Articles by Subject

Africa

Charry, Eric. West African Harps. 20 (1994): 5–53.

Agricola, Martin

Brown, Howard Mayer. Notes (and Transposing Notes) on the Transverse Flute in the Early Sixteenth Century. 12 (1986): 5–39.

Hettrick, William E. Identifying and Defining the Ruszpfeif: Some Observations and Etymological Theories. 17 (1991): 53–68.

America, North

Haefer, J. Richard. North American Indian Musical Instruments: Some Organological Distribution Problems. 1 (1975): 56–85.

Payne, Richard W. Indian Flutes of the Southwest. 15 (1989): 5–31.

America, South

Payne, Richard W., and John D. Hartley. Pre-Columbian Flutes of Mesoamerica. 18 (1992): 22–61.

Olsen, Dale A. The Flutes of El Dorado: An Archaeomusicological Investigation of the Tairona Civilization of Colombia. 12 (1986): 107–36.

Schechter, John M. The Diatonic Harp in Ecuador: Historical Background and Modern Traditions. Part 1, 10 (1984): 97–118; Part 2, 11 (1985): 123–73.

Antes, John

Selch, Frederick R. Some Moravian Makers of Bowed Stringed Instruments. 19 (1993): 38–64.

Antique Instruments

Watson, John R. Historical Musical Instruments: A Claim to Use, an Obligation to Preserve. 17 (1991): 69–82.

Witten, Laurence C., II. Apollo, Orpheus, and David. 1 (1975): 5–55.

Arnaut de Zwolle, Henri

Barry, Wilson. Henri Arnaut de Zwolle’s Clavicordium and the Origin of the Chekker. 11 (1985): 5–13.

Asia

Matusky, Patricia. Musical Instruments and Musicians of the Malay Shadow Puppet Theater. 8 (1982): 38–68.

Simonson, Linda. A Burmese Arched Harp (Saùng-gauk) and Its Pervasive Buddhist Symbolism. 13 (1987): 39–64.

reviews by author of book

Reviews by Author of Book

Acht, Rob von, see Scheurwater, Wouter, and Rob van Acht.

Adams, Peter H. An Annotated Index to Selected Articles from The Musical Courier, 1880–1940. Reviewed by William E. Hettrick. 36 (2010): 179–82.

Ahrens, Christian. Valved Brass: The History of an Invention. Reviewed by Robert E. Eliason. 35 (2009): 171–74.

Aksdal, Bjørn. Med Piber og Basuner, Skalmeye og Fiol: Musikinstrumenter i Norge ca. 1600–1800 [With pipes and trombones, shawm and fiddle: musical instruments in Norway ca. 1600–1800]. Reviewed by John G. Johnstone. 9 (1983): 124–25.

Anoyanakis, Fivos. Greek Popular Musical Instruments, Engl. transl. by Christopher N. W. Klint. Reviewed by Margaret Anne Downie. 9 (1983): 118–21.

Armstrong, Janice Gray, ed. Catching the Tune: Music and William Sidney Mount. Reviewed by Dale Higbee. 11 (1985): 176–79.

Arnold, Alison, ed. South Asia: The Indian Subcontinent (The Garland Encyclopedia of World Music,Vol. 5). Reviewed by Beth Bullard. 27 (2001): 183–88.

Arruga, Franco Lorenzo, Luigi di Fronzo, Elena Previdi, and Giovanni Paolo Di Stefano. Note de valzer nel mondo viennese: Arte e musica nel fortepiano di Heitzmann / Waltzes from the World of Vienna: Art and Music on the Heitzmann Fortepiano. Alla ricerca dei suoni perduti / In Search of Lost Sounds, Appendix 2. Reviewed by Anita Sullivan. 38 (2012): 166–69.

Askenfelt, Anders, ed. Five Lectures on the Acoustics of the Piano. Reviewed by Edward L. Kottick. 18 (1992): 124–31.

Bachman-Geiser, Brigitte. Europäische Musikinstrumente im Bernischen Historischen Museum: Die Sammlung als Spiegel bernischer Musikkultur. Reviewed by Beth Bullard. 29 (2003): 266–70.

Bahnert, Heinz, Theodor Herzberg, and Herbert Schramm. Metallblasinstrumente, 2d ed. Reviewed by George R. Hunter. 15 (1989): 129–31.

Baines, Anthony. The Bate Collection of Historical Wind Instruments: Catalogue of the Instruments. Reviewed by Dale Higbee. 5–6 (1979–80): 216–17.

Banks, Margaret Downie, see Downie, Margaret Anne.

Bär, Frank P., ed. Musica Instrumentalis: Zeitschrift für Organologie. Ausgabe 1 (1998); Band 2 (1999). Reviewed by William Hettrick. 27 (2001): 212–15.

Barbieri, Patrizio. Enharmonic Instruments and Music, 1470–1900: Revised and Translated Studies. Reviewed by Edward L. Kottick. 35 (2009): 159–63.

Barbieri, Patrizio. Physics of Wind Instruments and Organ Pipes 1100 –2010: New and Extended Writings. Reviewed by Murray Campbell. 42 (2016): 240–43.

Barclay, Robert. The Preservation and Use of Historic Musical Instruments. Reviewed by Albert R. Rice. 32 (2006): 191–94.

Barclay, Robert L., ed. The Care of Historic Musical Instruments. Reviewed by Laurence Libin. 25 (1999): 157–60.

Barigazzi, Giuseppe, John Henry van der Meer, Daniela Di Castro, and Michael Latcham. Walter e Stein gli strumenti di Mozart: Arte e musica nella collezione di Fernanda Giulini / Mozart’s Piano Makers Walter and Stein: Art and Music in Fernanda Giulini’s Collection. Reviewed by Thomas G. MacCracken. 34 (2008): 145–49.

Baron, Ernst Gottlieb. Study of the Lute (1727), Eng. transl. by Douglas Alton Smith. Reviewed by Hugh Gough. 4 (1978): 138–41.

Basart, Ann P. The Sound of the Fortepiano. Reviewed by Arthur Lawrence. 13 (1987): 116–18.

Bazzi, Andreina, see Mazzoca, Fernando, Grant O’Brien, Giovanni Paolo Di Stefano, Lavinia Galli, and Andreina Bazzi.

Bédos de Celles, François. The Organ-Builder, Eng. transl. by Charles Ferguson. Reviewed by Fenner Douglass. 5–6 (1979–80): 193–97.

Bernard, Nelly van Ree. The Psaltery: An Annotated Audio-visual Review of Different Types of Psaltery. Reviewed by Becky Blackley. 17 (1991): 158–61.

Berrow, Jim, ed. Towards the Conservation and Restoration of Historic Organs: A Record of the Liverpool Conference, 23–26 August 1999. Reviewed by Barbara Owen. 28 (2002): 238–41.

Betz, Marianne. Der Csakan und seine Musik: Wiener Musikleben im frühen 19. Jahrhundert, dargestellt am Beispiel einer Spazierstockblockflöte. Reviewed by William Hettrick. 21 (1995): 101–04.

Bevan, Clifford, ed. Musical Instrument Collections in the British Isles. Reviewed by Dale Higbee. 18 (1992): 106–09.

Bevan, Clifford. The Tuba Family. Reviewed by André P. Larson. 5–6 (1979–80): 205–07.

Bigio, Robert, ed. Readings in the History of the Flute: Monographs, Essays, Reviews, Letters and Advertisements from Nineteenth-Century London, edited and with an introduction. Reviewed by Jane Bowers. 34 (2008): 124–31.

Bigio, Robert. Rudall, Rose & Carte: The Art of the Flute in Britain. Reviewed by Susan Berdahl. 40 (2014): 240–43.

Blades, James, and Jeremy Montagu. Early Percussion Instruments from the Middle Ages to the Baroque. Reviewed by Edmund A. Bowles. 4 (1978): 125–30.

Blades, James. Percussion Instruments and Their History, rev. ed. Reviewed by Joseph H. Howard. 11 (1985): 190–91.

Blakeman, Edward. Taffanel: Genius of the Flute. Reviewed by Jane Bowers. 34 (2008): 124–31.

Boalch, Donald H. Makers of the Harpsichord and Clavichord 1440–1840, third edition, edited by Charles Mould. Reviewed by Laurence Libin. 23 (1997): 147–51.

Bonta, Stephen, and William Salzillo, eds. The Schambach Collection of Musical Instruments. Reviewed by Dale Higbee. 11 (1985): 176–79.

Boomkamp, Carel van Leeuwen, and John Henry van der Meer. The Carel van Leeuwen Boomkamp Collection of Musical Instruments: Descriptive Catalogue. Reviewed by Lloyd P. Farrar. 9 (1983): 112–17.

Borders, James M. European and American Wind and Percussion Instruments: Catalogue of the Stearns Collection of Musical Instruments, University of Michigan. Reviewed by Albert R. Rice. 15 (1989): 133–37.

Bösel, Richard, ed. La cultura del fortepiano / Die Kultur des Hammerklaviers 1770–1830: Atti del Convegno internazionale di studi / Akten der internationalen Studientagung; Roma 26–29 Maggio 2004 / Rom 26.–29. Mai 2004. Reviewed by Eva Badura-Skoda . 36 (2010): 160–65.

Bouterse, Jan. Dutch Woodwind Instruments and Their Makers, 1660–1760. Reviewed by Albert R. Rice. 34 (2008): 131–35.

Bowles, Edmund A. Musical Ensembles in Festival Books, 1500–1800: An Iconographical and Documentary Survey. Reviewed by Margaret Downie Banks. 16 (1990): 180–85.

Bowles, Edmund A. The Timpani: A History in Pictures and Documents. Reviewed by Arnold Myers. 30 (2004): 166–68.

Boydell, Barra. The Crumhorn and Other Renaissance Windcap Instruments. Reviewed by Kenton T. Meyer. 9 (1983): 133–42.

Brandily, Monique. Instruments de musique et musiciens instrumentistes chez les Teda du Tibesti. Reviewed by Darius L. Thieme. 5–6 (1979–80): 207–10.

Brauchli, Bernard, Alberto Galazzo, and Ivan Moody, eds. De Clavicordio VI: Proceedings of the VI International Clavichord Symposium, Magnano 2003. Reviewed by Rodney Myrvaagnes. 34 (2008): 135–40.

Brauchli, Bernard, Alberto Galazzo, and Judith Wardman, eds. De clavicordio VIII: The Clavichord on the Iberian Peninsula; Proceedings of the VIII International Clavichord Symposium, Magnano, 5–8 September 2007. Reviewed by Laurence Libin. 35 (2009): 168–71.

Brauchli, Bernard, Alberto Galazzo, and Judith Wardman, eds. De Clavicordio IX: Proceedings of the IX International Clavichord Symposium. Reviewed by John Koster. 40 (2014): 245–49.

Brauchli, Bernard, Alberto Galazzo, and Judith Wardman, eds. De Clavicordio X: Proceedings of the X International Clavichord Symposium. Reviewed by John Koster. 40 (2014): 245–49.

Brauchli, Bernard, Susan Brauchli, and Alberto Galazzo, eds. De Clavicordio II: Proceedings of the International Clavichord Symposium = Atti del Congresso Internazionale sul Clavicordo: Magnano, 21–23 September 1995. Reviewed by Edward L. Kottick. 24 (1998): 164–69.

Brauchli, Bernard. The Clavichord. Reviewed by Richard Troeger. 26 (2000): 224–28.

Brownlow, Art. The Last Trumpet: A History of the English Slide Trumpet. Reviewed by Robert E. Eliason. 24 (1998): 157–59.

Brüchle, Bernhard, and Kurt Janetzky. Kulturgeschichte des Horns: Ein Bildsachbuch / A Pictorial History of the Horn. Reviewed by Robert E. Eliason. 5–6 (1979–80): 203–05.

Buijsen Edwin, Louis Peter Grijp, et al. The Hoogsteder Exhibition of Music and Painting in the Golden Age. Reviewed by Dale Higbee. 23 (1997): 166–69.

Burgess, Geoffrey, and Bruce Haynes.The Oboe. Reviewed by Samantha Owens. 31 (2005): 195–99.

Butler, H. Reynolds, see Selch, Frederick R., and H. Reynolds Butler.

Caba, G. Craig. United States Military Drums, 1845–1865: A Pictorial Survey. Reviewed by Lloyd P. Farrar. 5–6 (1979–80): 210–13.

Campbell, Murray, Clive Greated, and Arnold Myers. Musical Instruments: History, Technology, and Performance of Instruments of Western Music. Reviewed by Laurence Libin. 32 (2006): 186–90.

Carter, Stewart, ed. Brass Scholarship in Review: Proceedings of the Historic Brass Society Conference, Cité de la Musique, Paris 1999. Reviewed by Niles Eldredge. 34 (2008): 122–24.

Castellengo, M., F. Drouin, and P. Sechet. La flûte traversiere à une clef. Reviewed by John W. Coltman. 8 (1982): 105–08.

Cervelli, Luisa. Antichi strumenti in un moderno museo: Museo Nazionale Strumenti Musicali—Roma, 2d ed. Reviewed by Darcy Kuronen. 15 (1989): 119–21.

Cheape, Hugh. Bagpipes: A National Collection of a National Instrument. Reviewed by James Kopp. 35 (2009): 180–83.

Chevallier, Claire, Jos van Immerseel, et al., eds. ‘Matière et Musique’: The Cluny Encounter (Proceedings of the European Encounter on Instrument Making and Restoration). Reviewed by Laurence Libin. 28 (2002): 241–45.

Clark, J. Bunker. Transposition in Seventeenth Century English Organ Accompaniments and the Transposing Organ. Reviewed by Robert Parkins. 4 (1978): 116–18.

Clark, James. Connecticut’s Fife and Drum Tradition. Reviewed by Jayson Dobney. 39 (2013): 209–12.

Clinkscale, Martha. Makers of the Piano, Volume 2: 1820–1860. Reviewed by Edwin M. Good. 27 (2001): 198–200.

Cole, Michael. Broadwood Square Pianos: Their Historical Context, and Technical Development, Together with a New Biography of John Broadwood. Reviewed by Sabine K. Klaus. 33 (2007): 249–52.

Cole, Michael. The Pianoforte in the Classical Era. Reviewed by Martha Novak Clinkscale. 26 (2000): 218–21.

Collins, Nick, and Julio d’Escriván, eds. The Cambridge Companion to Electronic Music. Reviewed by Mark Zaki. 35 (2009): 150–53.

Collinson, Francis. The Bagpipe: The History of a Musical Instrument. Reviewed by Shelley Gruskin. 4 (1978): 141–43.

Colt, C. F. The Early Piano. Reviewed by Frederick K. Gable. 8 (1982): 99–102.

Coover, James. Music at Auction: Puttick and Simpson (of London), 1794–1971. Reviewed by Michael C. Finkelman. 17 (1991): 137–40.

Coover, James. Musical Instrument Collections: Catalogues and Cognate Literature. Reviewed by James M. Borders. 12 (1986): 156–58.

Corbin, Alain. Village Bells: Sound and Meaning in the 19th-Century French Countryside. Reviewed by Laurence Libin. 26 (2000): 235–38.

Cottrell, Stephen. The Saxophone. The Yale University Instrument Series. Reviewed by James R. Noyes. 41(2015): 281–83.

Cowling, Elizabeth. The Cello. Reviewed by Mary Cyr. 4 (1978): 136–38.

Crane, Frederick. Extant Medieval Musical Instruments: A Provisional Catalogue by Types. Reviewed by Edwin M. Ripin. 1 (1975):131–33.

Creese, David. The Monochord in Ancient Greek Harmonic Science. Reviewed by Cecil Adkins. 39 (2013): 206–07.

Cross, Thomas E. Instruments of Burma, India, Nepal, Thailand, and Tibet. Reviewed by Robert Washburn. 11 (1985): 174–76.

Crum, Alison, with Sonia Jackson. Play the Viol: The Complete Guide to Playing the Treble, Tenor, and Bass Viol. Reviewed by M. Alexandra Eddy. 17 (1991): 149–52.

Cuéllar, Alberto, et al. La Escuela Granadina de Guitarreros = Granada School of Guitar-Makers, ed. John Ray. Reviewed by James Westbrook. 42 (2016): 246–49.

Cyr, Mary. Style and Performance for Bowed String Instruments in French Baroque Music. Reviewed by Brandi Berry. 40 (2014): 243–45.

Dahlqvist, Reine. The Keyed Trumpet and Its Greatest Virtuoso, Anton Weidinger. Reviewed by Robert E. Eliason. 2 (1976): 101.

Danks, Harry. The Viola d’Amore. Reviewed by Myron Rosenblum. 4 (1978): 134–36.

de Silva, Preethi. The Fortepiano Writings of Streicher, Dieudonné, and the Schiedmayers: Two Manuals and a Notebook. Reviewed by Edwin M. Good. 36 (2010): 157–60.

Di Castro, Daniela, see Barigazzi, Giuseppe, John Henry van der Meer, Daniela Di Castro, and Michael Latcham.

di Fronzo, Luigi, see Arruga, Franco Lorenzo, Luigi di Fronzo, Elena Previdi, and Giovanni Paolo Di Stefano.

Di Stefano, Giovanni Paolo, see Arruga, Franco Lorenzo, Luigi di Fronzo, Elena Previdi, and Giovanni Paolo Di Stefano.

Di Stefano, Giovanni Paolo, see Mazzoca, Fernando, Grant O’Brien, Giovanni Paolo Di Stefano, Lavinia Galli, and Andreina Bazzi.

Dirksen, Pieter, ed. The Harpsichord and its Repertoire: Proceedings of the International Harpsichord Symposium, Utrecht 1990. Reviewed by Arthur Lawrence. 23 (1997): 151–53.

Doderer, Gerhard, and John Henry van der Meer. Cordofones de tecla portugueses do século XVIII: Clavicordios, cravos, pianofortes e espinetas / Portuguese String Keyboard Instruments of the Eighteenth Century: Clavichords, Harpsichords, Fortepianos and Spinets. Reviewed by Susanne Skyrm. 34 (2008): 140–44.

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O’Brien, Grant, see Mazzoca, Fernando, Grant O’Brien, Giovanni Paolo Di Stefano, Lavinia Galli, and Andreina Bazzi.

O’Brien, Grant. Ruckers: A Harpsichord and Virginal Building Tradition. Reviewed by John Koster. 18 (1992): 109–24.

Ochse, Orpha. The History of the Organ in the United States. Reviewed by John Fesperman. 3 (1977): 129–31.

Odell, J. Scott, and Cynthia Adams Hoover, eds. A Checklist of Keyboard Instruments at the Smithsonian Institution. 2d ed. Reviewed by John Henry van der Meer. 5–6 (1979–80): 179–82.

Ogasapian, John, Scot L. Huntington, Len Levasseur, and N. Lee Orr, eds.Litterae Organi: Essays in Honor of Barbara Owen. Reviewed by Isabelle Emerson. 33 (2007): 254–55.

Okada, Mayumi, see Gunji, Sumi, Kazue Nakamizo, Miki Ito, and Mayumi Okada, eds.

Orlando, Susan, ed. The Italian Viola da Gamba: Proceedings of the International Symposium on the Italian Viola da Gamba. Reviewed by Tina Chancey. 31 (2005): 191–95.

Orr, N. Lee, see Ogasapian, John, Scot L. Huntington, Len Levasseur, and N. Lee Orr, eds.

Otterstedt, Annette. The Viol: History of an Instrument. Reviewed by Shanon P. Zusman. 29 (2003): 249–55.

Ottner, Helmut. Der Wiener Instrumentenbau 1815–1833. Reviewed by William E. Hettrick. 8 (1982): 111–16.

Overton, Friend Robert. Der Zink: Geschichte, Bauweise und Spieltechnik eines historischen Musikinstruments. Reviewed by Kenton T. Meyer. 10 (1984): 131–34.

Owen, Barbara. The Great Organ at Methuen: From its Celebrated Arrival in Nineteenth-Century Boston to the Present. Reviewed by Stephen Schnurr. 38 (2012): 157–59.

Owen, Barbara. The Organ in New England: An Account of Its Use and Manufacture to the End of the Nineteenth Century. Reviewed by Arthur Lawrence. 7 (1981): 99–102.

Owen, Barbara. The Registration of Baroque Organ Music. Reviewed by Jane Schatkin Hettrick. 25 (1999): 143–48.

Owens, Margareth, with Terence Ford, ed. Art Institute of Chicago. Reviewed by Carolyn Bryant. 16 (1990): 197–201.

Palmieri, Robert, ed., with Margaret W. Palmieri. The Piano. Vol. 1 of Encyclopedia of Keyboard Instruments. Reviewed by Bruce Carlson. 22 (1996): 132–33.

Parakilas, James, et al. Piano Roles: Three Hundred Years of Life with the Piano. Reviewed by Howard Schott. 27 (2001): 200–05.

Picken, Laurence, ed. Musica Asiatica, vol. 4. Reviewed by Robert Washburn. 12 (1986): 161–63.

Picken, Laurence. Folk Musical Instruments of Turkey. Reviewed by Karl Signell. 5–6 (1979–80): 171–76.

Pinch, Trevor, and Frank Trocco. Analog Days: The Invention and Impact of the Moog Synthesizer. Reviewed by Randy Westbrook. 32 (2006): 175–79.

Planyavsky, Alfred. The Baroque Double Bass Violone. Reviewed by Shanon P. Zusman. 26 (2000): 238–42.

Podnos, Theodor H. Bagpipes and Tunings. Reviewed by J. Richard Haefer. 2 (1976): 102–3.

Pollens, Stewart. Stradivari. Reviewed by Gabriele Rossi Rognoni. 37 (2011): 171–75.

Pollens, Stewart. The Manual of Musical Instrument Conservation. Reviewed by John Watson. 42 (2016): 243–46.

Powell, Ardal, ed. [and trans.]. The Keyed Flute by Johann George Tromlitz. Reviewed by Peter H. Bloom. 24 (1998): 160–64.

Powell, Ardal. The Flute. Reviewed by Jane M. Bowers. 29 (2003): 237–44.

Pratt, Barry, see Leenen, Ralf, and Barry Pratt.

Previdi, Elena, see Arruga, Franco Lorenzo, Luigi di Fronzo, Elena Previdi, and Giovanni Paolo Di Stefano.

Quantz, Johann Joachim. On Playing the Flute, 2d ed., transl. with notes by Edward R. Reilly. Reviewed by Beth Bullard. 14 (1988): 177–81.

Rattray, David. Masterpieces of Italian Violin Making (1620–1850): ImportantStringed Instruments from the Collection at the Royal Academy of Music, 2nd edition. Reviewed by Benjamin Hebbert. 28 (2002): 228–30.

Reede, Rien de, ed. Concerning the Flute: Ten Articles about Flute Literature, Flute Playing, Flute Making, and Flutists. Reviewed by Jane P. Ambrose. 12 (1986): 167–70.

Regazzi, Roberto, comp. The Complete Luthier’s Library: A Useful International Critical Bibliography for the Maker and Connoisseur of Stringed and Plucked Instruments. Reviewed by Ann Viles. 19 (1993): 109–11.

Reilly, Edward R., transl., see Quantz, Johann Joachim.

Rice, Albert R. From the Clarinet d’Amour to the Contra Bass: A History of Large Size Clarinets, 1740–1860. Reviewed by Eric Hoeprich. 36 (2010): 172–74.

Rice, Albert R. The Clarinet in the Classical Period. Reviewed by Deborah Check Reeves. 31 (2005): 199–202.

Richter, Hans Georg. Holz als Rohstoff für den Musikinstrumentenbau. Reviewed by John Koster. 17 (1991): 163–69.

Ridley, E. A. K. The Royal College of Music Museum of Instruments Catalogue. Vol. 1, European Wind Instruments. Reviewed by James Borders. 10 (1984): 126–27.

Ridley, E. A. K. Wind Instruments of European Art Music. Reviewed by Dale Higbee. 3 (1977): 132–34.

Ripin, Edwin M. Keyboard Instruments: Studies in Keyboard Organology, 1500–1800. Reviewed by R. Peter Wolf. 5–6 (1979–80): 190–92.

Ripin, Edwin M. The Instrument Catalogues of Leopoldo Franciolini. Reviewed by R. M. Rosenbaum. 1 (1975):127–29.

Ristirolla, Giancarlo, ed. Il Flauto dolce: revista semestrale per lo studio e la pratica della musica antica. Reviewed by Herbert W. Myers. 17 (1991): 146–49.

Robinson, Trevor. The Amateur Wind Instrument Maker. Reviewed by Laura E. Beha. 1 (1975):126–27.

Roell, Craig H. The Piano in America, 1890–1940. Reviewed by Darcy Kuronen. 16 (1990): 186–88.

Rowland, David, ed. The Cambridge Companion to the Piano. Reviewed by Stephen Siek. 26 (2000): 221–24.

Roy, Karl, see Senn, Walter, and Karl Roy.

Ruhland, Konrad. Alte Musikinstrumente aus niederbayerischen Werkstätten. Reviewed by William E. Hettrick. 8 (1982): 111–16.

Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. Reviewed by Cecil Adkins. 12 (1986): 149–51; reviewed by Margaret Downie Banks. 12 (1986): 151–56; reviewed by Frederick K. Gable. 13 (1987): 113–16.

Salmen, Walter, ed. Jakob Stainer und seine Zeit: Tagungsbericht. Reviewed by Laurence C. Witten II. 13 (1987): 118–21.

Salzillo, William, ed. The Art of Music: American Paintings & Musical Instruments, 1770–1910. Reviewed by Dale Higbee. 11 (1985): 176–79.

Salzillo, William, see also Bonta, Stephen, and William Salzillo, eds.

Sarda, Marie-Anne, ed. Le Vielleux: Métamorphoses d’une ﬁgure d’artiste du XVIIe au XIXe siècle. Reviewed by Robert A. Green. 35 (2009): 156–59.

Schaik, Martin van. De harp in de mideleeuwen: Studies naar de symbolick van een muziekinstrument. Reviewed by Linda Simonson. 17 (1991): 152–56.

Scheurwater, Wouter, and Rob van Acht. Oude klavecimbels: hun bouw en restauratie (Old Harpsichords: Their Construction and Restoration). Reviewed by R. Peter Wolf. 5–6 (1979–80): 192–93.

Schmidt, Paul William. Acquired of the Angels: The Lives and Works of Master Guitar Makers John D’Angelico and James L. D’Aquisto. Reviewed by Charles F. McGovern. 24 (1998): 154–56.

Schott, Howard, and John Koster, eds. Aspects of Harpsichord Making in the British Isles. Reviewed by Edward L. Kottick. 36 (2010): 155–57.

Schott, Howard, ed. The Historical Harpsichord, vol. 4. Reviewed by Kenneth Mobbs. 29 (2003): 260–63.

Schott, Howard, ed. The Historical Harpsichord: A Monograph Series in Honor of Frank Hubbard, [vol. 1]. Reviewed by Howard Serwer. 12 (1986): 163–65.

Schott, Howard, ed. The Historical Harpsichord: A Monograph Series in Honor of Frank Hubbard, vol. 3. Reviewed by Edward L. Kottick. 20 (1994): 123–25.

Schramm, Herbert, see Bahnert, Heinz, Theodor Herzberg, and Herbert Schramm.

Sechet, P., see Castellengo, M., F. Drouin, and P. Sechet.

Selch, Frederick R., and H. Reynolds Butler. The Legacy of Sebastian Virdung: An Illustrated Catalogue of Rare Books from the Frederick R. Selch Collection Pertaining to the History of Musical Instruments. Reviewed by Darcy Kuronen. 33 (2007): 240–42.

Senn, Walter, and Karl Roy. Jakob Stainer: Leben und Werk des tiroler Meisters 1617–1683. Reviewed by Laurence C. Witten II. 15 (1989): 123–25.

Seyfrit, Michael. Musical Instruments in the Dayton C. Miller Flute Collection at the Library of Congress: A Catalog. Vol. 1, Recorders, Fifes, and Simple System Transverse Flutes of One Key. Reviewed by Beth Bullard. 10 (1984): 128–31.

Shaw, Robert, and Peter Szego. Inventing the American Guitar: The Pre-Civil War Innovations of C. F. Martin and his Contemporaries. Reviewed by Darcy Kuronen. 41(2015): 277–81.

Shaw, Robert. Great Guitars. Reviewed by Charles F. McGovern. 24 (1998): 154–56.

Smar, Joyce, Michaelene Gorney, and Jane Vial. Musical Instruments. Reviewed by Dale Higbee. 7 (1981): 116–18.

Smith, Douglas Alton. A History of the Lute from Antiquity to the Renaissance. Reviewed by Kenneth Bé. 29 (2003): 234–37.

Smithers, Don L. The Music and History of the Baroque Trumpet before 1721. Reviewed by Robert Eliason. 1 (1975): 129–30.

Smithers, Don L. The Music and History of the Baroque Trumpet before 1721, 2nd ed. Reviewed by Ralph Dudgeon. 16 (1990): 188–91.

Snyder, Jane McIntosh, see Maas, Martha, and Jane McIntosh Snyder.

Solum, John. The Early Flute. Reviewed by Dale Higbee. 20 (1994): 126–28.

Sparks, Paul, see also Tyler, James, and Paul Sparks.

Sparks, Paul. The Classical Mandolin. Reviewed by Ann Viles. 23 (1997): 164–66.

Spring, Matthew, The Lute in Britain: A History of the Instrument and its Music. Reviewed by James Tyler. 29 (2003): 230–34.

Steiner, Thomas, ed. Cordes et claviers au temps de Mozart: Actes des Rencontres Internationales harmoniques, Lausanne 2006 / Bowed and Keyboard Instruments in the Age of Mozart: Proceedings of the harmoniques International Congress, Lausanne 2006. Reviewed by Laurence Libin. 37 (2011): 165–68.

Steiner, Thomas, ed. Instruments à claviers—expressivité et flexibilité sonore / Keyboard Instruments—Flexibility of Sound and Expression. Reviewed by Edwin M. Good. 32 (2006): 172–75.

Stewart, Gary M. Keyed Brass Instruments in the Arne B. Larson Collection. Reviewed by Lloyd P. Farrar. 9 (1983): 135–37.

Stiller, Andrew. Handbook of Instrumentation. Reviewed by Herbert W. Myers. 14 (1988): 161–64.

Stiven, Frederic B. In the Organ Lofts of Paris. Reviewed by Agnes Armstrong. 39 (2013): 219–20.

Stowell, Robin, ed. The Cambridge Companion to the Cello. Reviewed by Brenda Neece. 27 (2001): 208–12.

Stradner, Gerhard, et al. Kunsthistorisches Museum Wien. Klangführer durch die Sammlung alter Musikinstrumente. Reviewed by Frederick Crane. 22 (1996): 133–35.

Szego, Peter, see Shaw, Robert, and Peter Szego.

Tagliavini, Luigi Ferdinando, and John Henry van der Meer. Clavicembali e spinette dal XVI al XIX secolo: Collezione L. F. Tagliavini. Reviewed by Edward L. Kottick. 14 (1988): 174–77.

Teeter, Don E. The Acoustic Guitar: Adjustment, Care, Maintenance and Repair. Reviewed by H. E. Hutting II. 3 (1977): 134–36.

Thistlethwaite, Nicholas, and Geoffrey Webber, eds. The Cambridge Companion to the Organ. Reviewed by Arthur P. Lawrence. 26 (2000): 228–31.

Thrasher, Alan R. Chinese Musical Instruments. Reviewed by Barbara B. Smith. 28 (2002): 211–15.

Toff, Nancy. Monarch of the Flute: The Life of Georges Barrère. Reviewed by Jane Bowers. 34 (2008): 124–31.

Toff, Nancy. The Development of the Modern Flute. Reviewed by Jane P. Ambrose. 8 (1982): 108–11.

Toff, Nancy. The Flute Book: A Complete Guide for Students and Performers. Reviewed by Jane P. Ambrose. 13 (1987): 126–28.

Traupman-Carr, Carol A., ed. “Pleasing for Our Use”: David Tannenberg and the Organs of the Moravians. Reviewed by Arthur P. Lawrence. 27 (2001): 206–08.

Trocco, Frank, see Pinch, Trevor.

Tyler, James, and Paul Sparks. The Early Mandolin. Reviewed by Patrick Snowden Marshall. 17 (1991): 157–58.

Tyler, James. The Early Guitar: A History and Handbook. Reviewed by Clare Callahan. 9 (1983): 130–32.

Meer, John Henry van der, et al. Alla ricerca dei suoni perduti: Arte e musica negli strumenti della collezione di Fernanda Giulini / In Search of Lost Sounds: Art and Music in the Instruments Collection of Fernanda Giulini. Reviewed by Thomas G. MacCracken. 34 (2008): 145–49.

Vennum, Thomas, Jr. The Ojibwa Dance Drum: Its History and Construction. Reviewed by Robert Washburn. 14 (1988): 184–87.

Vial, Jane, see Smar, Joyce, Michaelene Gorney, and Jane Vial.

Villepastour, Amanda. Ancient Text Messages of the Yorùbá Bàtá Drum: Cracking the Code. Reviewed by Beth Bullard. 38 (2012): 153–57.

Wackernagel, Bettina. Holzblasinstrumente. Kataloge des Bayerischen Nationalmuseums 22. Reviewed by Cecil Adkins. 33 (2007): 242–45.

Wackernagel, Bettina. Musikinstrumentenverzeichnis der Bayerischen Hofkapelle von 1655: Faksimile, Transkription und Kommentar. Reviewed by William E. Hettrick. 32 (2006): 179–82.

Wagner, Gunther, see Meer, John Henry van der, Martin Elster, and Gunther Wagner.

Wainwright, Jonathan, and Peter Holman, eds. From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century. Reviewed by James B. Kopp. 33 (2007): 264–68.

Wardman, Judith, see Brauchli, Bernard, Alberto Galazzo, and Judith Wardman, eds.

Waring, Dennis G. Manufacturing the Muse: Estey Organs and Consumer Culture in Victorian America. Reviewed by Darcy Kuronen. 30 (2004): 175–79.

Waterhouse, William. The New Langwill Index: A Dictionary of Musical Wind-Instrument Makers and Inventors. Reviewed by Albert Rice. 21 (1995): 94–97.

Waterhouse, William. The Proud Bassoon. Reviewed by Beverley Ervine. 11 (1985): 189–90.

Watson, John R. Artifacts in Use: The Paradox of Restoration and the Conservation of Organs. Reviewed by R. L. Barclay. 36 (2010): 166–69.

Watson, John R. ed. Organ Restoration Reconsidered: Proceedings of a Colloquium. Reviewed by Isabelle Emerson. 33 (2007): 255–59.

Weber, Rainer, see Meer, John Henry van der, and Rainer Weber.

Wells, Elizabeth, and Christopher Nobbs, eds. Museum of Instruments: Catalogue. Part 3, European Stringed Instruments. Reviewed by Joëlle Morton. 34 (2008): 114–16.

Wheeler, Tom. American Guitars: An Illustrated History. Reviewed by Nancy Groce. 11 (1985): 187–89.

Whitney, Quincy. American Luthier: Carleen Hutchins—the Art & Science of the Violin. Reviewed by Allison A. Alcorn. 42 (2016): 249–53.

Wilder, Tom, ed. The Conservation, Restoration, and Repair of Stringed Instruments and Their Bows. Reviewed by Arian Sheets. 37 (2011): 175–79.

Williams, Peter. A New History of the Organ, from the Greeks to the Present Day. Reviewed by Barbara Owen. 7 (1981): 102–08.

Williams, Peter. The European Organ 1450–1850. Reviewed by Arthur Lawrence. 9 (1983): 128–30.

Woodfield, Ian. The Early History of the Viol. Reviewed by John E. Sawyer. 13 (1987): 121–25.

Woodrow, David. The Shape of Stradivari Violins: Proportions in the Forms and Violins of Antonio Stradivari. Reviewed by Allison A. Alcorn-Oppedahl. 20 (1994): 120–21.

Yearsley, David. Bach’s Feet: The Organ Pedals in European Culture. Reviewed by Jane Schatkin Hettrick. 39 (2013): 216–19.

Young, Philip T. Twenty-five Hundred Historical Woodwind Instruments: An Inventory of the Major Collections. Reviewed by Mary Jean Simpson. 10 (1984): 125–26.

Young, Phillip T. 4900 Historical Woodwind Instruments: An Inventory of 200 Makers in International Collections. Reviewed by Dale Higbee. 21 (1995): 98–101.

Young, Phillip T. Die Holzblasinstrumente im Oberösterreichischen Landesmuseum / Woodwind Instruments of the Oberösterreichisches Landesmuseum. Reviewed by Michael Finkelman. 25 (1999): 139–43.

Zhuo, Sun. The Chinese Zheng Zither: Contemporary Transformations. Reviewed by Beth Bullard. 42 (2016): 238–40.

reviews by title of book

Reviews by Title of Book

200 Jahre Patente, Privilegien und Gebrauchsmuster im internationalen Holz- und Metallblasinstrumentenbau. Günter Dullat. Reviewed by Albert R. Rice. 38 (2012): 162–65.

The Acoustic Guitar: Adjustment, Care, Maintenance and Repair. Don E. Teeter. Reviewed by H. E. Hutting II. 3 (1977): 134–36.

Acquired of the Angels: The Lives and Works of Master Guitar Makers John D’Angelico and James L. D’Aquisto. Paul William Schmidt. Reviewed by Charles F. McGovern. 24 (1998): 154–56.

Adolphe Sax (1814–1894): Sa vie, son oevre et ses instruments de musique. Malou Haine. Reviewed by Carolyn Bryant. 9 (1983): 132–35.

Alla ricerca dei suoni perduti: Arte e musica negli strumenti della collezione di Fernanda Giulini / In Search of Lost Sounds: Art and Music in the Instruments Collection of Fernanda Giulini. John Henry van der Meer, et al. Reviewed by Thomas G. MacCracken. 34 (2008): 145–49.

Alte Meistergeigen: Beschreibungen, Expertisen, vols. 5–8. Adolf Heinrich König, ed. Reviewed by Myron Rosenblum. 12 (1986): 166–67.

Alte Musikinstrumente aus niederbayerischen Werkstätten. Konrad Ruhland. Reviewed by William E. Hettrick. 8 (1982): 111–16.

Alte Musikinstrumente in Basel / Instruments de musique anciens à Bâle / Ancient Musical Instruments in Basle. Walter Nef. Reviewed by Dale Higbee. 3 (1977): 132–34.

The Amateur Wind Instrument Maker. Trevor Robinson. Reviewed by Laura E. Beha. 1 (1975):126–27.

The American Reed Organ and the Harmonium: A Treatise on Its History, Restoration and Tuning, with Descriptions of Some Outstanding Collections, Including a Stop Dictionary and a Directory of Reed Organs. Robert F. Gellerman. Reviewed by Allison Alcorn-Oppedahl. 25 (1999): 148–51.

America’s Instrument: The Banjo in the Nineteenth Century. Philip F. Gura and James F. Bollman. Reviewed by André Larson. 27 (2001): 195–98.

American Guitars: An Illustrated History. Tom Wheeler. Reviewed by Nancy Groce. 11 (1985): 187–89.

American Luthier: Carleen Hutchins—the Art & Science of the Violin. Quincy Whitney. Reviewed by Allison A. Alcorn. 42 (2016): 249–53.

American Musical Instruments in The Metropolitan Museum of Art. Laurence Libin. Reviewed by Dale Higbee. 13 (1987): 110–13.

An Annotated Index to Selected Articles from The Musical Courier, 1880–1940. Peter H. Adams. Reviewed by William E. Hettrick. 36 (2010): 179–82.

Analog Days: The Invention and Impact of the Moog Synthesizer. Trevor Pinch and Frank Trocco. Reviewed by Randy Westbrook. 32 (2006): 175–79.

Ancient Egyptian Musical Instruments. Lise Manniche. Reviewed by Martha Maas. 4 (1978): 119–21.

Ancient Text Messages of the Yorùbá Bàtá Drum: Cracking the Code. Amanda Villepastour. Reviewed by Beth Bullard. 38 (2012): 153–57.

Antichi strumenti in un moderno museo: Museo Nazionale Strumenti Musicali—Roma, 2d ed. Luise Cervelli. Reviewed by Darcy Kuronen. 15 (1989): 119–21.

Art Institute of Chicago. Margareth Owens with Terence Ford, ed. Reviewed by Carolyn Bryant. 16 (1990): 197–201.

Artifacts in Use: The Paradox of Restoration and the Conservation of Organs. John R. Watson. Reviewed by R. L. Barclay. 36 (2010): 166–69.

The Art of Music: American Paintings & Musical Instruments, 1770–1910. William Salzillo, ed. Reviewed by Dale Higbee. 11 (1985): 176–79.

The Art of Tuning: A Self-Guided Manual for Piano Tuning, Design, Action Regulation, and Repair from mid-19th Century France: For the Piano Owner and Technician, with Guidelines for Training the Blind and Visually Impaired. Claude Montal. Reviewed by Anne Beetem Acker. 41(2015): 267–70.

Aspects of Harpsichord Making in the British Isles. Howard Schott and John Koster, eds. Reviewed by Edward L. Kottick. 36 (2010): 155–57.

Aux Origines du Musée de la Musique: Les Collections instrumentales du Conservatoire de Paris, 1793–1993. Florence Gétreau. Reviewed by André P. Larson. 25 (1999): 133–36.

Bach’s Continuo Group: Players and Practices in His Vocal Works. Laurence Dana Dreyfus. Reviewed by Gordon Sandford. 15 (1989): 125–27.

Bach’s Feet: The Organ Pedals in European Culture. David Yearsley. Reviewed by Jane Schatkin Hettrick. 39 (2013): 216–19.

The Bagpipe: The History of a Musical Instrument. Francis Collinson. Reviewed by Shelley Gruskin. 4 (1978): 141–43.

Bagpipes and Tunings. Theodor H. Podnos. Reviewed by J. Richard Haefer. 2 (1976): 102–03.

Bagpipes: A National Collection of a National Instrument. Hugh Cheape. Reviewed by James Kopp. 35 (2009): 180–83.

Bands: The Brass Band Movement in the 19th and 20th Centuries. Trevor Herbert, ed. Reviewed by S. Frederick Starr. 19 (1993): 112–13.

The Baroque Double Bass Violone. Alfred Planyavsky. Reviewed by Shanon P. Zusman. 26 (2000): 238–42.

The Bassanos: Venetian Musicians and Instrument Makers in England, 1531–1665.David Lasocki, with Roger Prior Reviewed by Giulio M. Ongaro. 23 (1997): 158–61.

The Bate Collection of Historical Wind Instruments: Catalogue of the Instruments. Anthony Baines. Reviewed by Dale Higbee. 5–6 (1979–80): 216–17.

Beiträge zum historischen Cembalobau. Hubert Henkel. Reviewed by Howard J. Serwer. 9 (1983): 125–28.

Brass Scholarship in Review: Proceedings of the Historic Brass Society Conference, Cité de la Musique, Paris 1999. Stewart Carter, ed. Reviewed by Niles Eldredge. 34 (2008): 122–24.

Broadwood Square Pianos: Their Historical Context, and Technical Development, Together with a New Biography of John Broadwood. Michael Cole. Reviewed by Sabine K. Klaus. 33 (2007): 249–52.

The Brussels Museum of Musical Instruments Bulletin, vol. 4. René de Maeyer, ed. Reviewed by R. Peter Wolf. 5–6 (1979–80): 176–79.

C. F. Martin and His Guitars, 1796–1873. Philip F. Gura. Reviewed by Darcy Kuronen. 31 (2005): 187–91.

The Cambridge Companion to Brass Instruments. Trevor Herbert and John Wallace, editors. Reviewed by John Q. Ericson. 25 (1999): 151–54.

The Cambridge Companion to Electronic Music. Nick Collins and Julio d’Escriván, eds. Reviewed by Mark Zaki. 35 (2009): 150–53.

The Cambridge Companion to the Cello. Robin Stowell, editor. Reviewed by Brenda Neece. 27 (2001): 208–12.

The Cambridge Companion to the Organ. Nicholas Thistlethwaite and Geoffrey Webber, editors. Reviewed by Arthur P. Lawrence. 26 (2000): 228–31.

The Cambridge Companion to the Piano. David Rowland, editor. Reviewed by Stephen Siek. 26 (2000): 221–24.

The Care of Historic Musical Instruments. Robert L. Barclay, editor. Reviewed by Laurence Libin. 25 (1999): 157–60.

The Carel van Leeuwen Boomkamp Collection of Musical Instruments: Descriptive Catalogue. Carel van Leeuwen Boomkamp and John Henry van der Meer. Reviewed by Lloyd P. Farrar. 9 (1983): 112–17.

Catalogo degli strumenti musicali dell’ Accademia Filarmonica di Verona. John Henry van der Meer and Rainer Weber. Reviewed by R. M. Rosenbaum. 10 (1984): 120–23.

Catalogue of the Sir Nicholas Shackleton Collection. Arnold Myers, ed. Reviewed by Robert Howe. 35 (2009): 177–80.

Catching the Tune: Music and William Sidney Mount. Janice Gray Armstrong, ed. Reviewed by Dale Higbee. 11 (1985): 176–79.

Cavaillé-Coll and the Musicians. Fenner Douglass. Reviewed by Charles Ferguson. 8 (1982): 102–04.

The Cello. Elizabeth Cowling. Reviewed by Mary Cyr. 4 (1978): 136–38.

A Checklist of European Harps. Laurence Libin. Reviewed by Dale Higbee. 7 (1981): 116–18.

A Checklist of Keyboard Instruments at the Smithsonian Institution. 2d ed. J. Scott Odell, and Cynthia Adams Hoover, eds. Reviewed by John Henry van der Meer. 5–6 (1979–80): 179–82.

A Checklist of Pianos: Musical Instrument Collection Haags Gemeentemuseum. Clemens von Gleich. Reviewed by Thomas Masinter. 15 (1989): 121–22.

A Checklist of Viole da gambe (Viols). William L. Monical. Reviewed by Dale Higbee. 7 (1981): 116–18.

Chinese Musical Instruments. Alan R. Thrasher. Reviewed by Barbara B. Smith. 28 (2002): 211–15.

The Chinese Zheng Zither: Contemporary Transformations. Sun Zhuo. Reviewed by Beth Bullard. 42 (2016): 238–40.

Chopin e il suono di Pleyel: Arte e musica nella Parigi romantica / Chopin and the Pleyel Sound: Art and Music in Romantic Paris / Chopin et le son Pleyel: Art et musique dans le Paris romantique. Alla ricerca dei suoni perduti / In Search of Lost Sounds, Appendix 3. Florence Gétreau et al. Reviewed by Anita Sullivan. 38 (2012): 166–69.

Cinco siglos de música de tecla española / Five Centuries of Spanish Keyboard Music: Proceedings of FIMTE Symposia 2002–2004. Luisa Morales, ed. Reviewed by Susanne Skyrm . 35 (2009): 163–68.

The Clarinet in the Classical Period. Albert R. Rice. Reviewed by Deborah Check Reeves. 31 (2005): 199–202.

The Clarinet. Eric Hoeprich. Reviewed by Albert R. Rice. 35 (2009): 174–77.

Clarinette: Méthodes et Traités, Dictionnaires. Philippe Lescat and Jean Saint-Arroman, editors. Reviewed by Albert R. Rice. 28 (2002): 234–38.

The Classical Mandolin. Paul Sparks. Reviewed by Ann Viles. 23 (1997): 164–66.

Clavicembali e spinette dal XVI al XIX secolo: Collezione L. F. Tagliavini. Luigi Ferdinando Tagliavini, and John Henry van der Meer. Reviewed by Edward L. Kottick. 14 (1988): 174–77.

The Clavichord. Bernard Brauchli. Reviewed by Richard Troeger. 26 (2000): 224–28.

The Collection of Musical Instruments [at the Kunitachi College of Music Research Institute, Tokyo]. Sumi Gunji, Kazue Nakamizo, Miki Ito, and Mayumi Okada, eds. Reviewed by Peter H. Adams. 17 (1991): 145–46.

The Complete Luthier’s Library: A Useful International Critical Bibliography for the Maker and Connoisseur of Stringed and Plucked Instruments. Roberto Regazzi, comp. Reviewed by Ann Viles. 19 (1993): 109–11.

Concerning the Flute: Ten Articles about Flute Literature, Flute Playing, Flute Making, and Flutists. Rien de Reede, ed. Reviewed by Jane P. Ambrose. 12 (1986): 167–70.

Connecticut’s Fife and Drum Tradition. James Clark. Reviewed by Jayson Dobney. 39 (2013): 209–12.

The Conservation, Restoration, and Repair of Stringed Instruments and Their Bows. Tom Wilder, ed. Reviewed by Arian Sheets. 37 (2011): 175–79.

Cordes et claviers au temps de Mozart: Actes des Rencontres Internationales harmoniques, Lausanne 2006 / Bowed and Keyboard Instruments in the Age of Mozart: Proceedings of the harmoniques International Congress, Lausanne 2006. Thomas Steiner, ed. Reviewed by Laurence Libin. 37 (2011): 165–68.

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La cultura del fortepiano / Die Kultur des Hammerklaviers 1770–1830: Atti del Convegno internazionale di studi / Akten der internationalen Studientagung; Roma 26–29 Maggio 2004 / Rom 26.–29. Mai 2004. Richard Bösel, ed. Reviewed by Eva Badura-Skoda . 36 (2010): 160–65.

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La flûte traversiere à une clef. M. Castellengo, F. Drouin, and P. Sechet. Reviewed by John W. Coltman. 8 (1982): 105–08.

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Germanisches Nationalmuseum Nürnberg. Flöten- und Rohrblattinstrumente bis 1750: Beschreibender Katalog. Martin Kirnbauer. Reviewed by Albert R. Rice. 22 (1996): 128–32.

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Die geschichtliche Entwicklung der kleinen Flötentypen und ihre Verwendung in der Musik des 17. und 18. Jahrhunderts. Lenz Meierott. Reviewed by Jane Bowers. 3 (1977): 125–29.

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Great Flute Makers of France: The Lot and Godfroy Families, 1650–1900. Tula Giannini. Reviewed by Ardal Powell. 23 (1997): 153–58.

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Greek Popular Musical Instruments, Engl. transl. by Christopher N. W. Klint. Fivos Anoyanakis. Reviewed by Margaret Anne Downie. 9 (1983): 118–21.

Das Grosse Buch vom Posthorn. Albert Hiller. Reviewed by Ralph Dudgeon. 14 (1988): 181–84.

The Glen Account Book: 1838–1853. Arnold Myers, ed. Reviewed by Susan Berdahl. 15 (1989): 131–33.

The Great Organ at Methuen: From its Celebrated Arrival in Nineteenth-Century Boston to the Present. Barbara Owen. Reviewed by Stephen Schnurr. 38 (2012): 157–59.

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A Guide to Period Instruments—Guide des instruments anciens—Leitfaden durch die historischen Instrumente. Jérôme Lejeune. Reviewed by Geoffrey Burgess. 41(2015): 270–74.

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Haags Gemeentemuseum: Over het ontstaan van de Muziekafdeling: Portret van de Verzameling-Scheurleer. Clemens von Gleich. Reviewed by James M. Borders. 14 (1988): 168–71.

Hamburg’s Role in Northern European Organ Building. Gustav Fock. Reviewed by Jane Shatkin Hettrick. 26 (2000): 231–35.

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A History of the Harpsichord. Edward L. Kottick. Reviewed by John R. Watson. 32 (2006): 167–72.

A History of the Lute from Antiquity to the Renaissance. Douglas Alton Smith. Reviewed by Kenneth Bé. 29 (2003): 234–37.

Holz als Rohstoff für den Musikinstrumentenbau, Hans Georg Richter. Reviewed by John Koster. 17 (1991): 163–69.

Holzblasinstrumente. Kataloge des Bayerischen Nationalmuseums 22. Bettina Wackernagel. Reviewed by Cecil Adkins. 33 (2007): 242–45.

Die Holzblasinstrumente im Oberösterreichischen Landesmuseum / Woodwind Instruments of the Oberösterreichisches Landesmuseum. Phillip T. Young. Reviewed by Michael Finkelman. 25 (1999): 139–43.

The Hoogsteder Exhibition of Music and Painting in the Golden Age. Edwin Buijsen and Louis Peter Grijp, et al. Reviewed by Dale Higbee. 23 (1997): 166–69.

The Hurdy-Gurdy in Eighteenth-Century France. Robert A. Green. Reviewed by Carolyn W. Simons. 24 (1998): 148–51.

L’iconographie musicale sous les rois Bourbons: La musique dans les arts plastiques(XVIIe–XVIIIe siècles). A.-P. de Mirimonde. Reviewed by Richard D. Leppert. 5–6 (1979–80): 166–71.

In the Organ Lofts of Paris. Frederic B. Stiven. Reviewed by Agnes Armstrong. 39 (2013): 219–20.

The Instrument Catalogues of Leopoldo Franciolini. Edwin M. Ripin. Reviewed by R. M. Rosenbaum. 1 (1975):127–29.

Instruments à claviers—expressivité et flexibilité sonore / Keyboard Instruments—Flexibility of Sound and Expression.Thomas Steiner, ed. Reviewed by Edwin M. Good. 32 (2006): 172–75.

Instruments de musique et musiciens instrumentistes chez les Teda du Tibesti. Monique Brandily. Reviewed by Darius L. Thieme. 5–6 (1979–80): 207–10.

Instruments of Burma, India, Nepal, Thailand, and Tibet. Thomas E. Cross. Reviewed by Robert Washburn, 11 (1985): 174–76.

Instruments of the Middle Ages and Renaissance. David Munrow. Reviewed by Bruce Bellingham. 4 (1978): 121–25.

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Inventing the American Guitar: The Pre-Civil War Innovations of C. F. Martin and his Contemporaries. Robert Shaw and Peter Szego. Reviewed by Darcy Kuro