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The American Musical Instrument Society

 

AMIS Journal

AMIS Journal

AMIS Journal Indexed by Author

Volume 1 (1975) through Volume 46 (2016)

Articles by Author Articles by Title Articles by Subject
Reviews by Author of Book Reviews by Title of Book Reviews by Reviewer

 

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.

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