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The American Musical Instrument Society

 

AMIS Journal

AMIS Journal

AMIS Journal Indexed by Article Title

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

 

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,” JAMIS 26 (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

 

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