Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-wzw2p Total loading time: 0 Render date: 2024-05-01T10:27:59.942Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  31 October 2018

Trevor Herbert
Affiliation:
The Open University and the Royal College of Music, London
Arnold Myers
Affiliation:
The Royal Conservatoire of Scotland and the University of Edinburgh
John Wallace
Affiliation:
The Royal Conservatoire of Scotland
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Secondary Sources

CIMCIM (Comité International pour les Musées et Collections d’Instruments et de Musique: International Committee of Museums and Collections of Instruments and of Music) http://cimcim.icom.museum.Google Scholar
GMO (Grove Music Online in Oxford Music Online) www.oxfordmusiconline.com›omo_gmo.Google Scholar
MIMO (Musical Instrument Museums Online) www.mimo-international.com.Google Scholar
RIdIM (Répertoire International d’Iconographie Musicale). Research in musical iconography https://ridim.org/.Google Scholar
RIdIM (Répertoire International d’Iconographie Musicale), an international index of visual sources for music, dance, theatre and opera http://db.ridim.org/.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(1798) Regulations for the Exercise of Riflemen and Light Infantry, and Instructions for Their Conduct in the Field. London: Printed for the War Office by T. Egerton.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(1798) The Sounds and Duty Exercise for Trumpet and Bugle Horn of his Majesty’s Regiments and Corps of Cavalry. London: Broderip and Wilkinson.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(1871/1984) Patents for Inventions. Abridgments of Specifications Relating to Music and Musical Instruments a. d. 1694–1866. London, Office of the Commissioners of Patents and Inventions.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(1882–83) Annual Reports 1882–83. Shanghai, Shanghai Municipal Council.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(1884) ‘Musiche dei reggimenti di fanteria e fanfare del reggimenti di cavalleria’. Giornale Militare Ufficiale, facsimile 38.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(1940) US Field Music Manual. US War Department.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(1964) A Century of Music in Chicago: The Story of Lyon & Healy’s First One Hundred Years, 1864–1964. Chicago: Lyon & Healy. www.lyonhealy.com/pdfs/1964%20A%20Century%20of%20Music.pdf.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(1966) Great Britain. War Office. Trumpet and Bugle Calls for the Army, with Instructions for the Training of Trumpeters and Buglers (Supersedes Code No. 1725). London: Her Majesty’s Stationery Office.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(1979) ‘Alta Musica’. In Schneider, H. (Ed.), Vol. 4, 221–42. Tutzing.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(1986) CAC. Code of Ethics for Conservation. Ottawa: Canadian Association for Conservation, p. 9.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(2009) Zhongguo xinyinyue shilun (A Critical History of New Music in China). Hong Kong: The Chinese University of Hong Kong.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(2010) Bayimba Festival. http://bayimba.org/2010-bayimba-festival-newsletter-issue-1/.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(2016) Made-in-China. com www.made-in-china.com.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(2017) ARTIM BIAS 7 Brass Instrument Analysis System. www.bias.at.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(2017) Horn Hang Outs/Sarah Willis. http://sarah-willis.com/horn-hangouts/.Google Scholar
RIdIM RIdIM (Répertoire International d’Iconographie Musicale)(2017) Band Music Classroom Materials (US). www.loc.gov/teachers/classroommaterials/connections/band-music/.Google Scholar
Ackermann, B. J., O’Dwyer, N. and Halaki, M. (2014) ‘The difference between standing and sitting in 3 different seat inclinations on abdominal muscle activity and chest and abdominal expansion in woodwind and brass musicians’. Frontiers in Psychology, 5, 913.CrossRefGoogle ScholarPubMed
Adkins, C. and Dickenson, A. (1991) A Trumpet by Any Other Name: A History of the Trumpet Marine. Buren: Frits Knuf.Google Scholar
Agawu, K. (2008, March) ‘Tonality as colonizing force in Africa’. Paper given for the Royal Musical Association. King’s College, London.Google Scholar
Agricola, G. (1556) De Re Metallica, trans. H. C. Hoover and I. H. Hoover. New York: Dover, 1950.Google Scholar
Agricola, M. (1529/1545) Musica instrumentalis deudsch, Wittemberg: Georg Rhauw. Eng. trans. W. F. Hettrick, Cambridge: Cambridge University Press, 1994.Google Scholar
Ahrens, C. (1997) ‘Posaunenchor’. Die Musik in Geschichte und Gegenwart, Vol. 7, 1751–6. Kassel and Stuttgart: Bärenreiter and J. B. Metzler.Google Scholar
Aitken, T. (1985) ‘Ernest Hall’. BB, 49, 87–9.Google Scholar
Albertson, H. (1990) Ahlberg & Ohlsson, en fabrik för Bleckblåsinstrument i Stockholm 1850–1959. Stockholm: Musikmuseet.Google Scholar
Albrecht, T. (1999) ‘Elias (Eduard Constantine) Lewy and the first performance of Beethoven’s Ninth Symphony’. JIHS, 29(3), 2733, 8594.Google Scholar
Allen, D. G., Lamb, G. D. and Westerblad, H. (2008) ‘Skeletal muscle fatigue: Cellular mechanisms’. Physiological Review, 88(1), 287332.CrossRefGoogle ScholarPubMed
Allenbach, D., von Steiger, A. and Skamletz, M. (Eds.) (2016) Romantic Brass: Französische Hornpraxis und Historisch Informierter Blech-blasinstrumentenbau, Symposium 2. Bern: Edition Argus.Google Scholar
Altenburg, J. E. (1795) Versuch einer Anleitung zur heroisch-musikalischen Trompeter und Pauker-Kunst. Halle, J. C. Hendel. Trans. E. H. Tarr, Nashville: The Brass Press, 1974.Google Scholar
Altenmuller, E. and Jabusch, H. C. (2010) ‘Focal dystonia in musicians: Phenomenology, pathophysiology and triggering factors’. European Journal of Neurology, 17, 31–6.CrossRefGoogle ScholarPubMed
Anderson, E. (1938/R1966 and 1985) The Letters of Mozart and his Family. London: Macmillan.Google Scholar
Andersson, G., Nilsson, A-M. and Jonsson, L. (Eds.) (1992) Musiken i Sverige: Från forntid till stormaktstidens slut. Frankfurt am Main: Fischer & Co.Google Scholar
Andrews, F. (1997) Brass Band Cylinder and Non-microgroove Disc Recordings 1903–1960. Winchester: Piccolo Press.Google Scholar
An Old Guard (pseud.) (1888) The Coach Horn: What to Blow and How to Blow It. London: Köhler & Son. 7th edn 1907. Modern reprint by Swaine Adeney Brigg & Sons Ltd, 1963.Google Scholar
Anon, (1891a) ‘John Hartmann’. The Orchestral Times and Bandsman, IV(April), 98100.Google Scholar
Anon, (1891b) ‘Messrs. F. Besson & Co.’s cornophones’. The Orchestral Times and Bandsman, IV(August), 201–3.Google Scholar
Anzenberger, F. (1989) ‘Ein Überblick über die Trompeten- und Kornettschulen in Frankreich, England, Italien, Deutschland und Österreich von ca. 1800 bis ca. 1880’. PhD thesis, Universität Wien, Vienna.Google Scholar
Anzenberger, F.(1994) ‘Method books for keyed trumpet in the 19th century: An annotated bibliography’. HBSJ, 6, 110.Google Scholar
Anzenberger, F.(1997) ‘Method books for valve trumpet to 1850: An annotated bibliography’. HBSJ, 9, 5062.Google Scholar
Apostoli, A. G., Logie, S. M., Myers, A., Chick, J. P. and Braden, A. C. P. (2009) ‘Reconstructing the Lituus: A reassessment of impedance, harmonicity, and playability’. Proceedings of the NAG/DAGA International Conference on Acoustics, Rotterdam, 22–6 March.Google Scholar
Araya, A. D. (2009) ‘Los Andes de bronce. Conscripción military de comuneros andinos y el surgimiento de las bandas de bronce en el norte de Chile’. Historia, 42(2), 371–99.Google Scholar
Arban, J. B. (c.1859 or earlier) Grande méthode complète de cornet à piston et de saxhorn. Paris: Escudier; 4th edn, Paris: Escudier, 1864; Berlin, Ed. Bock & G. Bock, 1865; Paris: Escudier, 1865; Boston: Jean White, 1875.Google Scholar
Arban, J. B.(1884) Enseignement du cornet-Arban. Études composées et doigtées par l’auteur. Paris: A. Leduc.Google Scholar
Arban, J. B.(1887) Nouveau cornet-Arban. Paris: l’Auteur.Google Scholar
Arias, L. O. M. (2011) ‘Bandas de viento colombianas’. Boletin de antropologia. Universidad de Antioquia, 25(42), 129–49.Google Scholar
Armstrong, L. and Brothers, T. D. (1999) Louis Armstrong, in His Own Words: Selected Writings. Oxford and New York: Oxford University Press.CrossRefGoogle Scholar
Armstrong, L. and Gerlach, H. (1936) Swing that Music. London and New York: Longmans, Green and Co.Google Scholar
Arnold, D. (1979) Giovanni Gabrieli and the Music of the Venetian High Renaissance. London: Oxford University Press.Google Scholar
Arom, S. (2015) ‘Epilogue. Le terrain et ses au-delà’. In Arom, S. and Martin, D.-C. (Eds.), L’Enquête en ethnomusicologie: préparation, terrain, analyse, 259–67. Paris: Vrin.Google Scholar
Ashbee, A. (Ed.) (1986–91; 1991‒6) Records of English Court Music. Vols. I–IV. Snodland/Aldershot: Ashbee; Vols. V‒IX. Aldershot: Scolar Press.Google Scholar
Asioli, B. (1825) Transunto dei principi elementari di musica compilati dal celebre M. B. Asioli, e breve metodo per tromba con chiavi. Milan: Luigi Bertuzzi.Google Scholar
Aydin, P., Oram, O., Akman, A. and Dursun, D. (2000) ‘Effect of wind instrument playing on intraocular pressure’. Journal of Glaucoma, 9(4), 322–4.CrossRefGoogle ScholarPubMed
Baade, C. (2008) ‘“The battle of the saxes”: Gender, dance bands, and British nationalism in the Second World War’. In Ruskin, N. T. and Tucker, S. (Eds.), Big Ears: Listening for Gender in Jazz Studies, 90128. London: Duke University Press.Google Scholar
Babbitt, M. (1958) ‘Who cares if you listen?’ High Fidelity, February. https://groups.google.com/forum/#!topic/senior-project-i-fa-comd-401 c-05/A4TGbufkIRoBabbitt.Google Scholar
P., M. (2005) ‘Davis Shuman: A biography’. DMA dissertation, University of Washington.Google Scholar
Bachmann-Geiser, B. (1999) Das Alphorn: Vom Lock- zum Rockinstrument. Bern: Paul Haupt.Google Scholar
Bacon, L. (1985) ‘The Pace family of musical instrument makers, 1788–1901’. GSJ, 38, 4854.Google Scholar
Bacon, L.(2000) ‘William Bull, musical instrument maker (ca. 1650–1712): Working methods and instruments analysis’. Instruments pour demain … 9es journées d’études de la SFIIC, Limoges, 15–16 juin, 85–97.Google Scholar
Badger, R. (1995) A Life in Ragtime: A Biography of James Reese Europe. Oxford: Oxford University Press.Google Scholar
Baines, A. C. (1948) ‘James Talbot’s manuscript, I: Wind instruments’. GSJ, 1, 926.Google Scholar
Baines, A. C.(1950) ‘Fifteenth-century instruments in Tinctoris’s De Inventione et Usu Musicae’. GSJ, 3, 1926.Google Scholar
Baines, A. C.(1952) ‘Shawms of the Sardana Coblas’. GSJ, 5, 916.Google Scholar
Baines, A. C.(1957/R1967, 1977) Woodwind Instruments and their History. London: Faber.Google Scholar
Baines, A. C.(1968) Catalogue of Musical Instruments, II: Non-Keyboard Instruments. London: Victoria and Albert Museum.Google Scholar
Baines, A. C.(1972) Antique Musical Instruments of Historical Interest of the Boosey & Hawkes Group, Deansbrook Road, Edgware, Middx. Edgware: Boosey & Hawkes.Google Scholar
Baines, A. C.(1975) ‘Cimbasso’. GSJ, 28, 133.Google Scholar
Baines, A. C.(1976a) The Bate Collection of Historical Wind Instruments: Catalogue. Oxford: Bate Collection.Google Scholar
Baines, A. C.(1976b/R1978, 1980) Brass Instruments: Their History and Development. London: Faber & Faber.Google Scholar
Baird, F. W. (1983) ‘A history and annotated bibliography of tutors for trumpet and cornet’. PhD thesis, University of Michigan, Ann Arbor.Google Scholar
Banks, M. D. (1994) Elkhart’s Brass Roots: An Exhibition to Commemorate the 150th Anniversary of C. G. Conn’s Birth and the 120th Anniversary of the Conn Company. Vermillion, Dakota: The Shrine to Music Museum, College of Fine Arts.Google Scholar
Banks, M. D. and Jordan, J. W. (1988) ‘C. G. Conn: The man (1844–1931) and his company (1874–1915)’. JAMIS, 14, 61113.Google Scholar
Bannister, R. S. (1995) ‘An ethnomusicological study of music makers in an Australian military band’. PhD thesis, Deakin University, Burnwood, VIC, Australia.Google Scholar
Barbenel, J. C., Davies, J. B. and Kenny, P. (1986) ‘Science proves musical myths wrong’. New Scientist, 110, 2932.Google Scholar
Barbenel, J. C., Kenny, P. and Davies, J. B. (1988) ‘Mouthpiece forces produced while playing the trumpet’. Journal of Biomechanics, 21(5), 417–24.CrossRefGoogle ScholarPubMed
Barclay, R. L. (1989a) ‘Ethics in the conservation and preservation of brass instruments’. HBSJ, 1, 7581.CrossRefGoogle Scholar
Barclay, R. L.(1989b) ‘Reconstruction of a natural trumpet by Sterner of Nürnberg’. GSJ, 42, 98104.Google Scholar
Barclay, R. L.(1992) The Art of the Trumpet-maker. Oxford: Oxford University Press.Google Scholar
Barclay, R. L.(Ed.) (1997) The Care of Historic Musical Instruments. Ottawa and London: Canadian Conservation Institute and Museums and Galleries Commission.Google Scholar
Barclay, R. L.(1998) ‘A new species of instrument: The vented trumpet in context’. Historic Brass Society Journal, 10, 113.Google Scholar
Barclay, R. L.(1999) ‘A critical analysis of actions taken upon historic musical instruments through the period of the early music revival from the beginning of the 20th century to the 1990s’. PhD thesis, The Open University.Google Scholar
Barclay, R. L.(2004) The Preservation and Use of Historic Musical Instruments: Display Case and Concert Hall. London: Earthscan/James & James.Google Scholar
Barlow, H. (2012) ‘The military band images of George Scharf’. Music in Art, 37(1–2), 233–48.Google Scholar
Baroncini, R. (2002) ‘Zorzi Trombetta and the Band of Piffari and Trombones of the Serenissima: New documentary evidence’, trans. H. Ward-Perkins. HBSJ, 14, 5982.Google Scholar
Baroncini, R.(2004) ‘Zorzi Trombetta da Modon and the founding of the Band of Piffari and Tromboni of the Serenissima’. HBSJ, 16, 117.Google Scholar
Bartels, U. (1999) Das Fürst-Pless-Horn und seine Tradition. Bilder, Berichte und Dokumente zur Kulturgeschichte. Hannover: Landbuch-Verlag.Google Scholar
Bassano, G. (1585) Ricercate, passaggi, et cadentie per potersi esercitare nel diminuir terminatamente con ogni sorte d’instrumento. Venice: Giacomo Vincenzi & Ricciardo Andimo. Ed. Erig, R., Zürich: Musikverlag zum Pelikan, c.1976.Google Scholar
Bate, P. (1972) ‘R. F. M-P. 1890–1972’. GSJ, 25(July) 23.Google Scholar
Beaugeois, A. (1827/R1854) Méthode de plain-chant, de musique d’harmonie et de serpent …, 3rd edn. Amiens: Caron et Lambert, 1854.Google Scholar
Bejjani, F. J. and Halpern, N. (1989) ‘Postural kinematics of trumpet playing’. Journal of Biomechanics, 22(5), 439–46.Google Scholar
Benade, A. H. (1976) Fundamentals of Musical Acoustics. Oxford: Oxford University Press.Google Scholar
Bendinelli, C. (1614) ‘Tutta l’arte della trombetta’, manuscript. Facsimile. Vuarmarens, Editions Bim, 2011; Eng. trans. E. H. Tarr, The Brass Press, 1975.Google Scholar
Bennett, K. and Hoit, J. D. (2013) ‘Stress velopharyngeal incompetence in collegiate trombone players’. Cleft Palate-Craniofacial Journal, 50(4), 388–93.Google Scholar
Bergendal, G. (1981) Musiken på Island – om isolering och internationalism. Stockholm: Stockholms Konserthusstiftelses Skriftserie.Google Scholar
Berlioz, H. (1844/1856) Grand traité d’instrumentation et d’orchestration modernes. Paris: Schonenberger.Google Scholar
Berlioz, H.(1967–2006) New Edition of the Complete Works, 26 vols, ed. Macdonald, H.. Kassel: Bärenreiter.Google Scholar
Bernardi, E. (c.1862) Metodo per pelittone in si♭ tanto a 3 chiavi a 4 chiavi. Milan: F.Lucca.Google Scholar
Berr, F. and Caussinus, V. (c.1837) Méthode complète d’ophicléïde. Paris: J. Meissonnier.Google Scholar
Bertsch, M. and Thomas, M. (2001) ‘Visualization of brass players´ warm up by infrared thermography’. BB, 114(2), 29.Google Scholar
Bessaraboff, N. (1941) Ancient European Musical Instruments: An Organological Study of the Musical instruments in the Leslie Lindsey Mason Collection at the Museum of Fine Arts, Boston. Cambridge, MA: Harvard University Press.Google Scholar
Bevan, C. (1990) Musical Instrument Collections in the British Isles. Winchester: Piccolo Press.Google Scholar
Bevan, C.(1991) ‘Christopher Monk: 1921–1991, the purest serpentist’. HBSJ, 3, 13.CrossRefGoogle Scholar
Bevan, C.(1978/2000) The Tuba Family. Winchester: Piccolo Press.Google Scholar
Bevan, C.(2008) ‘Vaughan Williams’s Tuba Concerto: Composition and first performance’. ITEAJ, 36(2, Winter), 62–3.Google Scholar
Bierley, P. (1982/1994) Hallelujah Trombone! The Story of Henry Fillmore. Columbus, OH: Integrity Press.Google Scholar
Bierley, P.(2006) The Incredible Band of John Philip Sousa. Champaign, IL: University of Illinois Press.Google Scholar
Bigio, R. (2011) Rudall, Rose & Carte: The Art of the Flute in Britain. London: Tony Bingham.Google Scholar
Binder, F. P. (2006) ‘Bandas militares no Brasil: difusão e organização entre 1808–1889’. MA thesis, Universidade Estadual Paulista.Google Scholar
Bing, M., et al. (2010) ‘La composition pour batterie-fanfare. Actes de la journée thématique, 4 décembre 2010’. Coordination des associations musicales de pratiques amateurs. Paris. www.uff.cc/medias/Documentation/CAMPA%20Actes%20journ%C3%A9e%20th%C3%A9matique%2004%2012%202010%20version%20finale%20pour%20impression%2004%2007%202012.pdf.Google Scholar
Binns, P. L. (1959) A Hundred Years of Military Music: Being the Story of the Royal Military School of Music, Kneller Hall. Gillingham, Dorset: Blackmore Press.Google Scholar
Birkemeier, R. P. (1989) ‘The F trumpet and its last virtuoso, Walter Morrow (1850–1937)’. BB, 65, 3445.Google Scholar
Bittinger, W. (Ed.) (1960) Schütz-Werke-Verzeichnis (SWV). Kassel: Bärenreiter.Google Scholar
Blaikley, D. J. (1875) ‘On brass wind instruments as resonators’. Proceedings of the Physical Society of London, 2, 261–71.CrossRefGoogle Scholar
Blaikley, D. J.(1877–78) ‘Communication respecting a point in the theory of brass instruments’. PRMA, Fourth Session, 56–60.CrossRefGoogle Scholar
Blaikley, D. J.(1890) Acoustics in Relation to Wind Instruments: A Course of Three Lectures Delivered at the Royal Military School of Music, Kneller Hall. London: Boosey & Co.Google Scholar
Blazhevīch, V. M. (1925) Shkola dli︠a︡ razdvizhnogo trombona. n.p.Google Scholar
Blazhevīch, V. M.(1933) Shkola dli︠a︡ razdvizhnogo trombona.Google Scholar
Blazhevīch, V. M.(1948) Advanced Method for the Trombone. New York: Russian-American Music.Google Scholar
Blazhevīch, V. M.(1958) Ėti︠u︡dy dli︠a︡ trombona. Iz Shkoly dli︠a︡ trombona v kli︠u︡chakh. Moskva, Gos: Muzykal᾽noe izd-vo.Google Scholar
Blazhevīch, V. M.(1965) Ėti︠u︡dy dli︠a︡ trombona, iz Shkoly dli︠a︡ trombona v kli︠u︡chakh. Moskva: Muzyka.Google Scholar
Blazhevīch, V. M.(2007) School for Trombone in Clefs, ed. Kharlamov, A., Deryugin, M. and Stare, W.. Ithaca, NY: Ensemble Publications, East-West Music International.Google Scholar
Blazhevich, V. M. and Raichman, J. (1948) Clef Studies for Trombone. New York: Leeds Music Corp.Google Scholar
Bobo, R. (1993) Mastering the Tuba. Vuarmarens, Switzerland: Editions Bim.Google Scholar
Boggs, V. W. (1992) Salsiology: Afro-Cuban Music and the Evolution of Salsa in New York City. New York: Excelsior Music.Google Scholar
Boonzajer Flaes, R. (1993) De trommel en de bazuin – Ghana. In Idem, Bewogen koper: van koloniale kapel tot wereldblaasorkest. Amsterdam: De Balie; The Hague: Novib.Google Scholar
Boonzajer Flaes, R.(1999) Brass Unbound: Secret Children of the Colonial Brass Band. Amsterdam: Royal Tropical Institute.Google Scholar
Booth, G. D. (1996/1997) ‘The Madras Corporation Band: A story of social change and indigenization’. Asian Music, 28(1), 6187.CrossRefGoogle Scholar
Booth, G. D.(2005/2017) Brass Baja: Stories from the World of Indian Wedding Bands. Oxford and New Delhi: Oxford University Press.Google Scholar
Borchers, L., Gebert, M. and Jung, T. (1995) ‘Measurement of tooth displacements and mouthpiece forces during brass instrument playing’. Medical Engineering & Physics, 17(8), 567–70.CrossRefGoogle ScholarPubMed
Borgia, J. F., Horvath, S. M., Dunn, F. R., von Phul, P. V. and Nizet, P. M. (1975) ‘Some physiological observations on French horn musicians’. Journal of Occupational Medicine 17(11), 696701.Google ScholarPubMed
Botero, A. L. (1989) ‘El porro pelayero: de las gaitas y tambores a las bandas de viento’. Boletin Cultural y Bibliográfico, 26(19), 3953.Google Scholar
Bouhuys, A. (1964) ‘Lung volumes and breathing patterns in wind-instrument players’. Journal of Applied Physiology, 19, 967–75.CrossRefGoogle ScholarPubMed
Bourgue, D. (2004) Le cor: méthode universelle en sept volumes (method for the French horn in seven volumes). Paris: Alphonse Leduc.Google Scholar
Braun, J.-F. (1795–7) Gamme et méthode pour les trombonnes alto, ténor et basse. Paris: Jean-Georges Sieber; Paris: Jean-Georges Sieber, 1824.Google Scholar
Brenet, M. (1917) La musique militaire. Étude critique. Paris: H. Laurens.Google Scholar
Brett, P., Wood, E. and Thomas, G. C. (Eds.) (1994) Queering the Pitch: The New Gay and Lesbian Musicology. New York and London: Routledge.Google Scholar
Bridges, G. D. (1965) Pioneers in Brass. Detroit: Sherwood Publications.Google Scholar
Bright, D. (2014) Journal of the British Trombone Society, The Trombonist. www.britishtrombonesociety.org/news/summer-2014-magazine-preview/.Google Scholar
Brill, M. (2011) ‘Mexico’. Music of Latin America and the Caribbean, 59109. Upper Saddle, NJ: Prentice Hall.Google Scholar
Brinzing, A. (1998) Studien zur instrumentalen Ensemblemusik im deutschsprachigen Raum des 16. Jahrhunderts. Göttingen: Abhandlungen zur Musikgeschichte.Google Scholar
Broholm, H. C., Larsen, W. P. and Skjerne, G. (1949) The Lures of the Bronze Age. Copenhagen: Glydendalske Boghandel, Nordisk Verlag.Google Scholar
Bromage, S., Campbell, M. and Gilbert, J. (2010) ‘Open areas of vibrating lips in trombone playing’. Acta Acustica united with Acustica, 96(4), 603–13.CrossRefGoogle Scholar
Brothers, T. D. (2006) Louis Armstrong’s New Orleans. New York: W. W. Norton.Google Scholar
Brothers, T. D.(2014) Louis Armstrong: Master of Modernism. New York: W. W. Norton.Google Scholar
Brownlow, J. A. (1996) The Last Trumpet: A History of the English Slide Trumpet. Stuyvesant, NY: Pendragon Press.Google Scholar
Brucher, K. (2005) A Banda da Terra: Bandas Filarmónicas and the Performance of Place in Portugal. Ann Arbor: University of Michigan.Google Scholar
Brucher, K.(2013) ‘Composing Identity and Transposing Values in Portuguese Amateur Wind Bands’. In Brucher, K. and Reily, S. (Eds.), Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making, 131. Aldershot: Ashgate.Google Scholar
Brucher, K., and Reily, S. A. (2013) ‘Introduction: The World of Brass Bands’. In Brucher, K., and Reily, S. (Ed.), Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making, 131. Aldershot, Ashgate.Google Scholar
Bruinders, S. (2010) ‘Parading respectability: The Christmas Bands Movement in the Western Cape, South Africa and the constitution of subjectivity’. African Music, 8(4) 7083.Google Scholar
Bruinders, S.(2013) ‘Soldiers of God: The spectacular musical ministry of Christmas Bands in the Western Cape, South Africa’. In Reily, S. and Brucher, K. (Eds.), Brass Bands of the World, Militarism, Colonial Legacies and Local Music Making, 139–54. Farnham & Burlington, VT: Ashgate.Google Scholar
Brulon de Valmond, A. (1851) Méthode de néocor pour apprendre sans maître. Paris: Joly.Google Scholar
Brun, F.-J. (1998) ‘The band and orchestra of the Republican Guard of Paris’. Journal of Band Research, 3(2), 1518.Google Scholar
Burditt, B. A. (1850) Complete Preceptor for the Sax-horn. Boston: Elias Howe.Google Scholar
Burke, E. (c.1885) A-B-C Instructor for the E♭ Bass Tuba. Cincinatti: A. Squire.Google Scholar
Burney, C. (1776) A General History of Music from the Earliest Ages to the Present Period, to which is prefixed, a Dissertation on the Music of the Ancients. London.Google Scholar
Burney, C.(1773) Dr. Burney’s Musical Tours in Europe: Being Dr. Charles Burney’s account of his musical experiences, ed. Scholes, P. A.. (1959) Oxford: Oxford University Press.Google Scholar
Burney, C.(1785) An Account of the Musical Performances in Westminster-Abbey, and the Pantheon, May 26th, 27th, 29th, and June the 3d and 5th, 1784: In Commemoration of Handel, London. (1964) facsimile edn. New York: Da Capo Press.Google Scholar
Burrows, D. (1999) ‘Of Handel, London trumpeters, and trumpet music’. HBSJ, 11, 19.Google Scholar
Butt, J. (2002) Playing with History: The Historical Approach to Musical Performance. Cambridge and New York: Cambridge University Press.Google Scholar
Byrne, M. (1992) ‘William Bull, John Stevenson and the Harris Family’. GSJ, 45, 6777.Google Scholar
Bythell, D. (2000) ‘The Brass Band in the Antipodes: The Transplantation of British Popular Culture’. In Herbert, T. (Ed.), The British Brass Band: A Musical and Social History, 217–44. Oxford: Oxford University Press.Google Scholar
Cairns, D. (1964) ‘Berlioz, the Cornet and the Symphonie Fantastique’. Berlioz Society Bulletin, 47(7), 26.Google Scholar
Calvo, D. F. (n.d.) ‘La música militar en la Argentina durante la primera mitad del siglo XIX’. www.ara.mil.ar/archivos/Docs/05.calvo.pdf.Google Scholar
Campbell, D. M. (2004) ‘Brass instruments as we know them today’. Acta Acustica United with Acustica, 90(4), 600–10.Google Scholar
Campbell, D. M.(2014) ‘Evaluating musical instruments’. Physics Today, 67(4), 3540.CrossRefGoogle Scholar
Campbell, D. M. and Greated, C. A. (1987) The Musician’s Guide to Acoustics. London: Dent.Google Scholar
Campbell, D. M. and Greated, C. A.(2001) The Musician’s Guide to Acoustics, new edn. Oxford: Oxford University Press.Google Scholar
Campbell, D. M., Chick, J. and Myers, A. (2014) ‘Acoustical comparisons of sackbuts and trombones’. HBSJ, 26, 6378.Google Scholar
Campbell, D. M., Gilbert, J. and Myers, A. (2019) The Science of Brass Instruments. Cham: Springer International.Google Scholar
Campbell, D. M., Greated, C. and Myers, A. (2004) Musical Instruments: History, Technology, and Performance of Instruments of Western Music. Oxford: Oxford University Press.Google Scholar
Camus, R. F. (1993) Military Music of the American Revolution. Pomona, CA: Integrity Press.Google Scholar
Canin, X. (2016) ‘Jean-Baptiste Arban, du cornet à la baguette, un musicien français du XIXe siècle aux multiples talents’. PhD dissertation, Université Paris-Sorbonne, Paris.Google Scholar
Carnaud, J. (c.1837) Méthode complète pour le trombonne à pistons. Paris: Richault.Google Scholar
Carreras, F. (2007) ‘I Rampone: una tradizione di due secoli nella produzione degli strumenti musicali a fiato’. Atti della XVII Giornata di Studio, Quarna Sotto 7. 8. 2007, 1121. Quarna.Google Scholar
Carrot, G. (2001) La Garde nationale (1789–1871), une force publique ambiguë. Paris: Éditions L’Harmattan.Google Scholar
Carse, A. (1939) Musical Wind Instruments. London: Macmillan.Google Scholar
Carse, A.(1945) ‘Adolphe Sax and the Distin family’. Music Review, 6, 193201.Google Scholar
Carter, S. (1990) ‘Trombone obbligatos in Viennese oratorios of the Baroque’. HBSJ, 2, 5277.CrossRefGoogle Scholar
Carter, S.(1997) ‘Georges Kastner on brass instruments: The influence of technology on the theory of orchestration’. In Carter, S. (Ed.), Perspectives in Brass Scholarship: Proceedings of the International Historic Brass Symposium, Amherst, 1995, 171–92. Stuyvesant, NY: Pendragon.Google Scholar
Carter, S.(2006) ‘Trombone ensembles of the Moravian brethren in America: New avenues for research’. In Carter, S. (Ed.), Brass Scholarship in Review: Proceedings of the Historic Brass Society Conference, Cité de la Musique, Paris 1999, 77109. Hillsdale, NY: Pendragon.Google Scholar
Carter, S.(2012) The Trombone in the Renaissance. Hillsdale, NY: Pendragon Press.Google Scholar
Caruso, C. (1979) Calisthenics for Brass. Milwaukee, WI: Hal Leonard.Google Scholar
Carvalho, V. M. de (2008) ‘Observações acerca da música militar na Guerra do Paraguai’. Universidade Federal de Juiz de Fora. www.ecsbdefesa.com.br/defesa/fts/MMGP.pdf.Google Scholar
Castiglione, B. (1528) The Book of the Courtier. Venice: Aldine.Google Scholar
Castil-Blaze, (1855) Théâtres lyriques de Paris: l’Académie impériale de musique. Paris.Google Scholar
Catalinet, P. (1985) The Essential Tubaist. Deal: Cinque Port Music.Google Scholar
Cattaneo, L. and Pavesi, G. (2014) ‘The facial motor system’. Neuroscience & Biobehavioral Reviews, 38, 135–59.CrossRefGoogle ScholarPubMed
Chagot, M. and Chagot, C. (2014) ‘Courtois: la dynastie enfin retrouvée’. Larigot, 54(Décembre), 2439.Google Scholar
Chagot, M. and Chagot, C.(2015) ‘La première forme populaire du cornet à piston “Périnet”’. Larigot, 56(Novembre), 2839.Google Scholar
Chick, J., Logie, S., Kemp, J. A, Campbell, M. and Smith, R. (2010) ‘An exploration of extreme high notes in brass playing’. Paper presented at the International Symposium on Music Acoustics (ISMA), Sydney, Australia.Google Scholar
Christopoulos, M. (2013) In and Out of the Limelight: Ann Matilda Distin: Her Life and Times. Nottingham: Helmos.Google Scholar
Cimera, J. (1940) 170 Studies for Trombone. New York: Boosey & Hawkes.Google Scholar
Cimera, J.(1942) 221 Progressive Studies for Trombone: A Logical Volume of Supplementary Studies to Any Good Instruction Book for the Trombone,. New York: Boosey & Hawkes.Google Scholar
Cimera, J.(1955) 73 Advanced Tuba Studies. New York, NY: Alfred Publishing Co.Google Scholar
Cimera, J. and Hovey, N. W. (1940) Cimera-Hovey Method for Trombone and Baritone (Bass Clef). New York, NY: Boosey & Hawkes, Belwin.Google Scholar
Čižek, B. (1991) ‘Josef Kail (1795–1871): Forgotten brass instrument innovator’. BB, 73, 6475; 74, 24–9.Google Scholar
Clagget, C. (1793) No. I of Musical Phaenomena: An Organ, made without Pipes … A Cromatic Trumpet, Capable of Producing Just Intervals … A French Horn, Answering the Above Description of the Trumpet. London: printed for author.Google Scholar
Clarke, A. (2001) ‘The heyday of the hand horn and the birth of the valved horn: A study of nineteenth-century horn technique as revealed in the solo works for horn by Carl Czerny’. HBSJ, 13, 118–27.Google Scholar
Clarke, H. L. (1909) Elementary Studies. New York, NY: Carl Fischer.Google Scholar
Clarke, H. L.(1912) Technical Studies for the Cornet … Second Series. Elkhart, IN: L. B. Clarke.Google Scholar
Clarke, H. L.(1915) Characteristic Studies for the Cornet … Third Series. Elkhart, IN: L. B. Clarke.Google Scholar
Clarke, H. L.(1929) Setting Up Drills. New York, NY: Carl Fischer.Google Scholar
Clarke, H. L.(1934) How I Became a Cornetist. St Louis: J. L. Huber.Google Scholar
Clarke, H. L.(1940) Olympian Collection of Cornet Solos with Piano Accompaniment. Chicago, IL: Chart Music.Google Scholar
Clarke, J. et al. (1700) A Choice Collection of Ayres for the Harpsichord or Spinett. London: John Young.Google Scholar
Coelho, V. and Polk, K. (2016) Instrumentalists and Renaissance Culture, 1420–1600: Players of Function and Fantasy. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Coles, J. M. (1963) ‘Irish Bronze Age horns and their relations with northern Europe’. Proceedings of the Prehistoric Society, 29, 326–56.CrossRefGoogle Scholar
Colin, C. (1948) Advanced Lip Flexibilities for Trombone. New York, NY: New Sounds in Modern Music.Google Scholar
Colin, C.(1955) Advanced Lip Flexibilities for Trumpet. New York, NY: Charles Colin Music.Google Scholar
Collins, J. (1976) ‘Ghanaian highlife’. African Arts, 10(1) 62–6, 100.CrossRefGoogle Scholar
Collins, T. A. (1991) ‘Gottfried Reiche: A more complete biography’. ITGJ, 15(3), 428.Google Scholar
Collins, T. A.(2001, December) ‘“Reactions against the virtuoso”. Instrumental ornamentation practice and the stile moderno’. International Review of the Aesthetics and Sociology of Music, 32(2), 137–52.CrossRefGoogle Scholar
Collver, M. and Dickey, B. (1996) A Catalog of Music for the Cornett. Bloomington: Indiana University Press.Google Scholar
Comettant, O. (1860) Histoire d’un inventeur au dix-neuvième siècle: Adolphe Sax, ses ouvrages et ses luttes. Paris: Pagnerre.Google Scholar
Conforzi, I. (1994) ‘Girolamo Fantini “Monarch of the Trumpet”: New Light on his works’. HBSJ, 6, 3260.Google Scholar
Cools, J. (1997) ‘Essai de classification alphabétique des facteurs, ouvriers, inventeurs, marchands belges d’instruments de musique à vent’. Larigot, VIII(spécial).Google Scholar
Cools, J.(2000) ‘Essai de classification alphabétique des facteurs, ouvriers, inventeurs, marchands français des instruments de musique à vent premiere partie (lettres A à L)’. Larigot, XI(Septembre, spécial).Google Scholar
Cools, J.(2002) ‘Essai de classification alphabétique des facteurs, ouvriers, inventeurs, marchands français des instruments de musique à vent Tome II (lettres M à Z)’. Larigot, XIII(spécial).Google Scholar
Coplan, D. (1978) ‘Go to my town, Cape Coast! The social history of Ghanaian Highlife’. In Nettl, B. (Ed.), Eight urban musical cultures, 96114. Urbana: University of Illinois Press.Google Scholar
Coplan, D.(1992) In Township Tonight! Musique et théâtre dans les villes noires d’Afrique du Sud Paris, Karthala and Nairobi: Credu.Google Scholar
Cornette, V. (1868) Méthode complete de sax-horn soprano, contralto, tenor, baryton, basse et contrabasse (ou bombardon). Paris: Richault.Google Scholar
Cotgrave, R. (1611) A Dictionarie of the French and English Tongues. London: Adam Islip.Google Scholar
Courant, M. (1912) Essai Historique sur la Musique Classique des Chinois (Historical essay on the classical music of the Chinese). Paris: C. Delagrave.Google Scholar
Covell, R. (1967) Australia’s Music: Themes of a New Society. Melbourne: Sun Books.Google Scholar
Craft, R. (1959) Conversations with Igor Stravinsky. London: Faber.Google Scholar
Crist, E. B. (2005) Music for the Common Man: Aaron Copland during the Depression and War. New York: Oxford University Press.Google Scholar
Cudworth, C. (1967) ‘The Vauxhall “Lists”’. GSJ, 20, 2442.Google Scholar
Cudworth, C. and Zimmerman, F. B. (1960) ‘The Trumpet Voluntary’. Music & Letters, 41(4), 342–8.Google Scholar
Cui, J. (2016) ‘Cui Jian’. www.cuijian.com.Google Scholar
Cullen, J., Gilbert, J. and Campbell, D. M. (2000) ‘Brass instruments: Linear stability analysis and experiments with an artificial mouth’. Acustica, 86, 704–24.Google Scholar
D’Accone, F. A. (1997) The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance. Chicago: University of Chicago Press.Google Scholar
Dahlhaus, C. (1989) Die Musik des 19. Jahrhunderts/Nineteenth-Century Music, trans. Bradford Robinson, J. Berkeley and Los Angeles: University of California Press.Google Scholar
Dahlqvist, R. (1975) The Keyed Trumpet and Its Greatest Virtuoso, Anton Weidinger. Nashville: The Brass Press.Google Scholar
Dahlqvist, R. and Eklund, B. (1995) ‘The Bach renaissance and the trumpet’. Euro-ITG Newsletter, 1, 1217.Google Scholar
Dahlström, F. (1990) ‘Prolog till året 1790’. In Tolvas, I. (Ed.), Turun Soitannollinen Seura 200 vuotta, 79147. Turku: Turun Soitannollinen Seura.Google Scholar
Dahlström, F.(2012) ‘Stadtmusikanten, Organisten und Kantoren im Ostseeraum bis ca. 1850’. Mariehamn und Föglö. www.doria.fi/handle/10024/78703.Google Scholar
Dai, W. (2010) Zhongguo yinyue wenhua jianshi (Concise History of Chinese Music Culture). Beijing: Zhonghua shuju.Google Scholar
Dalla Casa, G. (1584) Il vero modo di diminuir con tutte le sorti di stromenti di fiato, & corda, & di voce humana. Venice: Angelo Gardano. Facsimile edition, Bologna: Arnaldo Forni, 1976.Google Scholar
DaMatta, R. (1979/1991) Carnival, Rogues and Heroes: An Interpretation of the Brazilian Dilemma. Notre Dame, IN: University of Notre Dame Press.Google Scholar
Damm, P. (2012) ‘125th Anniversary of the Concerto for Horn, Op. 11 by Richard Strauss’. JIHS, 5667.Google Scholar
Dart, T. (1953) ‘The Mock Trumpet’. GSJ, 6, 3540.Google Scholar
Dart, T.(1958) ‘The repertory of the royal wind music’. GSJ, 11, 70–7.Google Scholar
Dauer, A. M. (1985) Tradition afrikanischer Blasorchester und Entstehung des Jazz. Graz: Akademische Druck- u. Verlangsanstalt.Google Scholar
Dauprat, L. F. (1824) Méthode de Cor-alto et Cor-basse (Premier et Second cor). Paris: Chez Zetter.Google Scholar
Dauverné, F. G. A. (1857) Méthode pour la trompette. Paris: Brandus, Dufour et Cie; Saint Petersburg: Brandus.Google Scholar
Dauverné, F. G. A.(c.1827–8) Théorie ou tablature de la trompette à pistons. Paris: Janet et Cotelle.Google Scholar
Dauverné, F. G. A.(1846) Méthode Théorique & Pratique De Cornet à Pistons ou à Cylindres. Paris: Lemoine.Google Scholar
Davis, M. with Troupe, Q. (1989) Miles, the Autobiography. New York: Simon & Schuster.Google Scholar
Day, C. R. (1891) A Descriptive Catalogue of the Musical Instruments Recently Exhibited at the Royal Military Exhibition, London, 1890. London: Eyre & Spottiswoode.Google Scholar
Day, R. (1875) ‘Irish bronze war trumpets’. Journal, Royal Society of Antiquaries Ireland, 13, 422.Google Scholar
Day, T. (2000) A Century of Recorded Music: Listening to Music History. New Haven and London: Yale University Press.Google Scholar
De Keyser, I. (1980) ‘La composition des harmonies et fanfares: origines et évolution’. In Aerts, J. and Philippon, C. (Eds.), 150 ans de fanfares et harmonies en Belgique, 4554. Brussels: Crédit communal de Belgique.Google Scholar
De Keyser, I.(1994) ‘Mahillon, Victor-Charles’. Nouvelle Biographie nationale, Vol. 3, 245–7. Brussels: Académie royale des Sciences, des Lettres et des Beaux-Arts de Belgique.Google Scholar
De Keyser, I.(1996) De geschiedenis van de Brusselse muziekinstrumentenbouwers Mahillon en de rol van Victor-Charles Mahillon in het ontwikkelen van het historisch en organologisch discours omtrent het muziekinstrument. Ghent: Universiteit Gent.Google Scholar
De Keyser, I.(2003) ‘The paradigm of industrial thinking in brass instrument making during the nineteenth century’. HBSJ, 15, 233–58.Google Scholar
De Keyser, I.(2010) ‘A Congolese horn from the eighteenth century in the shape of a cornett’. HBSJ, 22, 91102.Google Scholar
Dempster, S. (1979) The Modern Trombone: A Definition of its Idioms. Berkeley: University of California Press.Google Scholar
Deniz, O., Savci, S., Tozkoparan, E., Ince, D. I., Ucar, M. and Ciftci, F. (2006) ‘Reduced pulmonary function in wind instrument players’. Archives of Medical Research, 37(4), 506–10.CrossRefGoogle ScholarPubMed
Devémy, J. (1960) Méthode de cor chromatique. Paris: A. Leduc.Google Scholar
Díaz Ayala, C. (1981) Música Cubana: Del areyto a la nueva trova. San Juan, PR: Editorial Cubanacán.Google Scholar
Dickey, B. (1978) ‘Unterschungen zur historischen Auffassung des Vibratos aus Blasinstrumenten’. Basler Jahrbuch für historische Musikpraxis, 2, 77142.Google Scholar
Dickey, B.(1997) ‘The Cornett’. Cambridge Companion to Brass Instruments. Cambridge: Cambridge University Press.Google Scholar
Dickey, B.(2007) ‘Ornamentation in Sixteenth-Century Music’. In Kite-Powell, J. (Ed.), A Performer’s Guide to Renaissance Music, 2nd edn, 300–24. Bloomington and Indianapolis: Indiana University Press.Google Scholar
Diderot, D. and d’Alembert, J. le R. (1751–72) ‘Encyclopédie’. Paris.Google Scholar
Dieppo, A.-G. (1837) Méthode complète pour le trombone. Paris: E. Troupenas.Google Scholar
Dietrich, K. (1995) Duke’s ‘Bones’: Ellington’s Great Trombonists. Rottenburg, Germany: Advance Music.Google Scholar
Dietrich, K.(2005) Jazz ‘Bones: The World of Jazz Trombone. Rottenburg, Germany: Advance Music.Google Scholar
Diniz, A. (2007) O Rio musical de Anacleto de Medeiros: a vida, a obra e o tempo de um mestre do choro. Rio de Janeiro: Zahar.Google Scholar
Distin, H. (1857) ‘Complete catalogue of Military Musical Instruments, &c., &c., Manufactured by Henry Distin’. London: Henry Distin.Google Scholar
Distin, J. (c.1855) Distin’s Tutor for Alt-horn, Tenor Tuba, and Cornet-à-pistons. Containing the Art of Single and Double Tongueing [sic]. London: Henry Distin.Google Scholar
Distin, T., the elder (1871) Tutor for the Ballad Horn. London: Boosey.Google Scholar
Ditson, O. (1859) Ditson’s New and Improved Instructor for the E flat Cornet. Boston: Oliver Ditson.Google Scholar
Dobney, J. K. (2016) ‘Royal kettledrums from the House of Hanover’. GSJ, 69, 201–24.Google Scholar
Dodworth, A. T. (1853) Dodworth’s Brass Band School: Containing Instructions in the First Principles of Music, Together with a Number of Pieces of Music Arranged for a Full Brass Band. New York: H. B. Dodworth & Co.Google Scholar
Dodworth, A. T.(1885) Dancing and Its Relation to Education and Social Life: With a New Method of Instruction, Including a Complete Guide to the Cotillion (German) with 250 Figures. New York: Harper.Google Scholar
Domnich, H. (1807) Méthode de premier et de second cor: adoptée pour servir à l’étude dans cet établissement. Paris: A l’Imprimerie du Conservatoire Impérial de Musique.Google Scholar
Douay, J. (1990) ‘André Lafosse (1890–1975): Master of trombone’. BB, 70, 5660.Google Scholar
Downey, P. (1983) ‘The trumpet and its role in music of the Renaissance and early Baroque’. PhD thesis (3 vols.), The Queen’s University of Belfast.Google Scholar
Dubé, S. (2012) ‘Edward H. Tarr: Trumpet scholar extraordinaire’. ITGJ, 36(2), 611, 35.Google Scholar
Dudgeon, R. T. (2004) The Keyed Bugle. Lanham, MD: Scarecrow Press.Google Scholar
Dudgeon, R. T. and Streitweiser, F. X. (2004) Das Flügelhorn. Bergkirchen: Edition Bochinsky.Google Scholar
Dullat, G. (1985) Blasinstrumente und deutsche Patentschriften 1877–1970. Volume 1 (1985), Volume 2 (1986), Nanheun: Günter Dullat.Google Scholar
Dullat, G.(1986) Holz- und Metallblasinstrumente: Zeitschrift für Instrumentenbau, 1881–1945. Siegburg: Verlag der Instrumentenbau-Zeitschrift.Google Scholar
Dullat, G.(1989) Metallblasinstrumentenbau: Entwicklungsstufen und Technologie. Frankfurt: Bochinsky.Google Scholar
Dullat, G.(1992/2003) V. F. Červený & Söhne 1842–1992: eine Dokumentation. Nauheim (1992)/Plau am See (2003): Günter Dullat.Google Scholar
Dullat, G.(2005) Fachwörterbuch: Holzblasinstrumente und Metallblasinstrumente: Bauteile, Instrumente, Technologien, Skizzen: Englisch-Deutsch, Deutsch-Englisch. Bergkirchen: PPVMedien, Edition Bochinsky.Google Scholar
Dullat, G.(2010) Verzeichnis der Holz- und Metallblasinstrumentenmacher auf deutschsprachigem Gebiet von 1500 bis Mitte des 20. Jahrhunderts. Tutzing: Hans Schneider.Google Scholar
Dumoulin, G. (2002) ‘Cornets in the Brussels Musical Instrument Museum: A survey and a checklist of an outstanding collection’. HBSJ, 14, 425–46.Google Scholar
Dumoulin, G.(2006) ‘The cornet and other brass instruments in French patents of the first half of the nineteenth century’. GSJ, 59, 77100.Google Scholar
Duttenhofer, E.-M. (1982) Gebrüder Alexander: 200 Jahre Musikinstrumentenbau in Mainz: Ein Betrag zu Musikinstrumentenkunde. Mainz: B. Schott’s Söhne.Google Scholar
Duvernoy, F. (1802) Méthode pour le cor, suivie de duo et de trio pour cet instrument. Paris: imp. du Conservatoire; Bonn: Simrock, 1830.Google Scholar
Eaton, E. K. (1860) Eaton’s Cornet Instructor. Boston: Pussel and Tolman.Google Scholar
Ehmann, W. (1956/R1974) Johannes Kuhlo: Ein Speilmann Gottes. Witten: Luther-Verlag.Google Scholar
Eichhorn, H. (2006) Gabrieli tedesco: Rezeption und Überlieferung des Spätwerks von Giovanni Gabrieli in deutschen Quellen des 17. Jahrhunderts. Altenburg: Kamprad.Google Scholar
Eldredge, N. (2002) ‘A brief history of piston-valved cornets’. HBSJ, 14, 337–90.Google Scholar
Eldredge, N.(2003) ‘Mme F. Besson and the early history of the Périnet valve’. GSJ, 56, 147–51.Google Scholar
Elghozi, J. L., Girard, A., Fritsch, P., Laude, D. and Petitprez, J. L. (2008) ‘Tuba players reproduce a Valsalva maneuver while playing high notes’. Clinical Autonomic Research, 18(2), 96104.CrossRefGoogle ScholarPubMed
Eliason, R. E. (1970) ‘Early American valves for brass instruments’. GSJ, 23, 8696.Google Scholar
Eliason, R. E.(1975) Graves & Company: Musical Instrument Makers. Dearborn, MI: Edison Institute.Google Scholar
Eliason, R. E.(1977) ‘Dresden keyed bugle’. JAMIS, 3, 5763.Google Scholar
Eliason, R. E.(1979/R1999) Early American Brass Makers. Nashville, TN: The Brass Press; Vuarmarens, Switzerland: BIM.Google Scholar
Eliason, R. E.(2003) ‘Rhodolph Hall: Nineteenth-century keyed bugle, cornet, and clarinet soloist’. JAMIS, 29, 571.Google Scholar
Eliason, R. E.(2004) ‘More on echo-cornets’. JAMIS, 30, 193–6.Google Scholar
Eliason, R. E.(2007) ‘D. C. Hall and the Quinby Brothers’. JAMIS, 33, 84161.Google Scholar
Eliason, R. E., Stewart, R. and Martz, R. J. (2015) ‘The Boston Musical Instrument Manufactory/Company, 1869–1919 Part I: Company history, E-flat and B-flat cornet development’. JAMIS, 41, 545.Google Scholar
Eliason, R. E., Stewart, R. and Martz, R. J.(2016) ‘The Boston Musical Instrument Manufactory/Company, 1869–1919 Part II: Mid-range brasses, band instrument sets, trumpets, horns, woodwinds, and percussion’. JAMIS, 42, 542.Google Scholar
Ellis, D. (1975) Quarter Tones: A Text with Musical Examples, Exercises and Etudes. Plainview NY: Harold Branch.Google Scholar
Emerick, G. and Massey, H. (2007) Here, There and Everywhere, My Life Recording the Music of The Beatles. New York: Penguin.Google Scholar
Engelbrecht, M. (1740) Trompeten, Pausaunen und Waldhornmacher. Augsburg.Google Scholar
Erdmann, T. (2005) ‘A passion for creativity: An interview with Herb Alpert’. ITGJ, 29(2), 2130.Google Scholar
Ericson, J. (1997) ‘Joseph Rudolphe Lewy and valved horn technique in Germany, 1837–1851’. The Horn Call Annual, 9, 2335.Google Scholar
Ericson, J.(1998) ‘The double horn and its invention in 1897’. JIHS, 28(2), 31–4.Google Scholar
Ernst, F. (1968) ‘Die Blasinstrumentenbauer-Familie Moritz in Berlin’. Glareana, 17(3–4), 29.Google Scholar
Essex, J. (1722) The Young Ladies Conduct: Or, Rules for Education, Under Several heads; With Instructions Upon Dress, Both Before and After Marriage. And Advice to Young Wives. Gale Ecco: Print Editions.Google Scholar
Estimbre, G. and Madeuf, J.-F. (2017) ‘Les fanfares en France: vers une instrumentation standardisée, 1845–1889’. Colloque Paris: un laboratoires d’idées. Facture et répertoire des cuivres entre 1840 et 1930, 162–96. Paris: Cité de la Musique/Historic Brass Society.Google Scholar
Evans, A., Driscoll, T. and Ackermann, B. (2011) ‘Prevalence of velopharyngeal insufficiency in woodwind and brass students’. Occupational Medicine, 61(7), 480–2.Google Scholar
Evans, J. (1881) The Ancient Bronze Implements, Weapons, and Ornaments, of Great Britain and Ireland. London: Longmans, Green & Co.Google Scholar
Fako, N. J. (1998) Philip Farkas and His Horn: A Happy, Worthwhile Life. Elmhurst IL: Crescent Park Music.Google Scholar
Falcon Møller, D. (1983) Danske Instrumentbyggere 1770–1850. En erhvervshistorisk og biografisk fremstilling. Copenhagen.Google Scholar
Fantini, G. (1638) Modo per imperare a sonare di tromba tanto di guerra quanto musicalmente in organo (Method for learning to play the trumpet both in war and musically with organ), Francofort [sic] (Florence): Ed. E. H. Tarr Facsimile, Nashville: The Brass Press, 1975.Google Scholar
Farkas, P. (1956) The Art of French Horn Playing. Secaucus, NJ: Summy-Birchard.Google Scholar
Farkas, P.(1962) The Art of Brass Playing: A Treatise on the Formation and Use of the Brass Player’s Embouchure. Bloomington, IN: Wind Music.Google Scholar
Farmer, H. G. (1912) The Rise and Development of Military Music. London: W. Reeves.Google Scholar
Farrar, L. P. (1985) ‘Under the Crown & Eagle’. Newsletter of the American Musical Instrument Society, 14(3), 4. http://amis.org/publications/newsletter/1981/14.3–5.pdf.Google Scholar
Farrar, L. P.(1987) ‘Under the Crown & Eagle’. Newsletter of the American Musical Instrument Society, 16(2), 3. http://amis.org/publications/newsletter/1981/16.2–7.pdf.Google Scholar
Fauquet, J.-M. (1997) ‘Du Louvre à la Bastille, ou le sens d’une symphonie en marche’. In Gétreau, F. (Ed.), Musiciens des rues de Paris, 5963. Paris: Éditions de la Réunion des Musées Nationaux.Google Scholar
Fauquet, J.-M.(2003) ‘Garde nationale, musiques de la’. In Fauquet, J.-M. (Ed.), Dictionnaire de la musique en France au XIXe siècle, 504. Paris: Fayard.Google Scholar
Fétis, F. J. (1837) Manuel des compositeurs, directeurs de musique, chef d’orchestre & de musique militaire ou traité méthodique de l’harmonie des instruments, des voix, et de tout ce qui est relatif à la composition, à la direction et à l’exécution de la musique. Paris: M. Schlesinger.Google Scholar
Fétis, F. J.(1860–8) Biographie Universelle des Musiciens. Paris: Didot.Google Scholar
Fillmore, H. (1919) Henry Fillmore’s Jazz Trombonist. Cincinnati: Fillmore Music House.Google Scholar
Findeĭzen, N. F. (1928) History of Music in Russia from Antiquity to 1800. Bloomington: Indiana University Press.Google Scholar
Findling, J. E. and Pelle, K. D. (2008) Encyclopedia of World’s Fairs and Expositions. Jefferson, NC: McFarland.Google Scholar
Finnegan, R. (1989) The Hidden Musicians: Music-Making in an English Town. Middletown, CT: Wesleyan University Press.Google Scholar
Fladmoe, G. G. (1975) ‘The contributions to brass instrument manufacturing of Vincent Bach, Carl Geyer and Renold Schilke’. Ed.D. dissertation, University of Illinois.Google Scholar
Flandrin, M. G. (1925) ‘Le Trombone’. In Lavignac, A. and Laurencie, de La, L. (Eds.), Encyclopédie de la musique et dictionnaire du Conservatoire part 2, Vol. 3, 1649–59. Paris: Delagrave.Google Scholar
Fleischauer, G. (1960) ‘Bucina und Cornu’. Wissenschaftliche Zeitschrift der Martin-Luther-Universität, 9, 501–6.Google Scholar
Fletcher, N. H. and Rossing, T. D. (1998) The Physics of Musical Instruments. New York: Springer.Google Scholar
Fletcher, N. H. and Tarnopolsky, A. (1999) ‘Blowing pressure, power, and spectrum in trumpet playing’. JASA, 105,(2, Pt. 1), 874–81.Google Scholar
Forestier, J. (1844) Méthode complète, théorique et pratique pour le cornet chromatique à pistons ou cylindres. Paris: B. Latte.Google Scholar
Forney, K. K. (1982–4) ‘New documents on the life of Tielman Susato, sixteenth-century music printer and musician’. Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, 36/38, 1852.Google Scholar
Franz, O. (c.1880) Grosse theoretisch-praktische Waldhorn-Schule. Dresden: J. G. Seeling.Google Scholar
Frederiksen, B. (1996) Arnold Jacobs: Song and Wind. Grayslake, IL: Windsong Press.Google Scholar
Fréour, V., Lopes, N., Hélie, T., Caussé, R. and Scavone, G. P. (2015) ‘In vitro and numerical investigation of the influence of a vocal tract resonance on lip auto-oscillations in trombone performance’. Acta Acustica united with Acustica, 101(2), 256–69.Google Scholar
Friedheim, J. (1821) Trente-six Éxercices pour le Trombone en Si♭. Paris: author.Google Scholar
Friis, N. (1947) Det danske Hoftrompeter Korps. En historisk Undersøgelse. Copenhagen.Google Scholar
Fröhlich, F.-J. (1811) Vollständige theoretisch-praktische Musikschule. Bonn: Simrock.Google Scholar
Frolova-Walker, M. (2007) Russian Music and Nationalism, from Glinka to Stalin. New Haven, CT, and London: Yale University Press.Google Scholar
Frucht, S. J. (2009) ‘Embouchure dystonia-Portrait of a task-specific cranial dystonia’. Movement Disorders, 24(12), 1752–62.Google Scholar
Frucht, S., Fahn, S. and Ford, B. (1999) ‘French horn embouchure dystonia’. Movement Disorders, 14(1), 171–3.Google Scholar
Frucht, S. J., Fahn, S., Greene, P. E., O’Brien, C., Gelb, M., Truong, D. D., Welsh, J., Factor, S. and Ford, B. (2001) ‘The natural history of embouchure dystonia’. Movement Disorders, 16(5), 899906.CrossRefGoogle ScholarPubMed
Fuhrimann, S., Schupbach, A., Thuer, U. and Ingervall, B. (1987) ‘Natural lip function in wind instrument players’. European Journal of Orthodontics, 9(3), 216–23.Google Scholar
Fuhrmann, A. G., Franklin, P. J. and Hall, G. L. (2011) ‘Prolonged use of wind or brass instruments does not alter lung function in musicians’. Respiratory Medicine, 105(5), 761–7.Google Scholar
Fuhrmann, A., Wijsman, S., Weinstein, P., Poulson, D. and Franklin, P. (2009) ‘Asthma among musicians in Australia: Is there a difference between wind/brass and other players’. Medical Problems of Performing Artists, 24(4), 170–4.Google Scholar
Fuks, L. and Fadle, H. (2002) ‘Wind instruments’. In Parncutt, R. and McPherson, G. (Eds.), The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning, 319–34. Oxford: Oxford University Press.Google Scholar
Fukui, H. (1994) ‘The hora (conch trumpet) of Japan.GSJ, 47, 4762.Google Scholar
Gabbard, K. (1992) ‘Signifyin(g) the phallus: “Mo’ Better Blues” and representations of the jazz trumpet’. Cinema Journal, 32(1), 4362.Google Scholar
Gabbard, K.(2008) Hotter Than That: The Trumpet, Jazz, and American Culture. New York: Faber & Faber.Google Scholar
Gallay, J. F. (c.1845) Méthode pour le cor, Op. 54. Paris: Schonenberger.Google Scholar
Gallivan, K. H. and Gallivan, G. J. (2002) ‘Bilateral mixed laryngoceles: Simultaneous strobovideolaryngoscopy and external video examination’. Journal of Voice, 16(2), 258–66.Google Scholar
Galloway, H. M. (1990) ‘Ernst Albert Couturier, American cornet virtuoso’. JITG, 14(4), 456.Google Scholar
Galpin, F. W. (1906/7) ‘The Sackbut: Its evolution and history’. PMA, 33, 125.Google Scholar
Gamble, S. and Lynch, W. C (2011) Dennis Brain: A Life in Music. Denton, TX: University of North Texas Press.Google Scholar
Ganassi, dal Fontego, S. (1535) Opera intitulata Fontegara. Venice: S. Ganassi.Google Scholar
Gansemans, J. and Schmidt-Werner, B. (1986) ‘Zentralafrika’. In Bachmann, W. (Ed.), Musikgeschichte in Bildern Vol. 1, Lieferung 9. Leipzig: VEB Deutscher Verlag für Musik.Google Scholar
Garcin-Marrou, M. (2006) ‘The horn in France: From the olifant to the orchestra’. Jagd- und Waldhörner Geschichte und musikalische Nutzung, 2942. Augsburg: Wissner-Verlag.Google Scholar
Garofalo, R. J. and Elrod, M. (1985) A Pictorial History of Civil War Era Musical Instruments & Military Bands. Charlestown, WV: Pictorial Histories.Google Scholar
Gassmann, A. L. (1938) s’Alphornbüechli: Blast mir das Alphorn noch einmal! Zürich: Hug.Google Scholar
Gatti, D. (1879) Gran trattato d’istrumentazione storico-teorico-pratico per banda, Napoli: Steeger.Google Scholar
Gay, B. (1973) ‘The daddy of them all’. Sounding Brass, ii(1), 1114.Google Scholar
Geib, F. (1941) The Geib Method for Tuba. New York, NY and Boston, MA: Carl Fischer.Google Scholar
Gerber, E. L. and Wessely, O. (1966) Neues historisch-biographisches Lexikon der Tonkünstler 1812–1814. Graz: Akademische Druck-u. Verlagsanstalt.Google Scholar
Gesner, C. (1555) De raris et admirandis herbis. Zürich.Google Scholar
Gessele, C. M. (1992) ‘The Conservatoire de Musique and national music education in France, 1795–1801’. In Boyd, M. (Ed.), Music and the French Revolution, 191210. Cambridge: Cambridge University Press.Google Scholar
Gesualdo, V. (1961) Historia de la Música en la Argentina. Buenos Aires: Beta.Google Scholar
Gétreau, F. (1996) Aux origines du musée de la Musique: Les collections instrumentales du Conservatoire de Paris 1793–1993. Paris: éditions Klincksieck and Réunion des musées nationaux.Google Scholar
Giannini, T. (2014) ‘The Raoux Family of master horn makers in France: New documents and perspectives’. JAMIS, 40, 112–62.Google Scholar
Gillespie, D. and Fraser, A. (1979) To Be or Not … to Bop: Memoirs. New York: Doubleday.Google Scholar
Ginzburg, L. (1950) Istoriya Ispolnitelstva na Violoncheli. Moscow.Google Scholar
Gioia, T. (1997) The History of Jazz. Oxford: Oxford University Press.Google Scholar
Girard, A. (2017) Aerophor: Eine Dokumentation/A Documentation, Gesellschaft der Freunde alter Musikinstrumente. Basel: Verlag Johannes Petri.Google Scholar
Glen, J., and Glen, T. (1985) The Glen Account Book 1838–1853. Edinburgh: Edinburgh University Collection of Historic Musical Instruments.Google Scholar
Glöggl, F. X. (1828) Kirchenmusik-Ordnung: Erklärendes Handbuch des musikalischen Gottesdientes für Kapellmeister, Regenschori, Sänger und Tonkünstler. Vienna: Wallishausser.Google Scholar
Goertzel Sandman, S. (1977) ‘Indications of snare-drum technique in Philidor Collection MS 1163’. GSJ, 30, 70–5.Google Scholar
Gordon, C. (1965) Systematic Approach to Daily Practice: A 52-week Trumpet Course. New York, NY: Carl Fischer.Google Scholar
Gordon, C.(1987) Brass Playing Is No Harder Than Deep Breathing. New York, NY: Carl Fischer.Google Scholar
Gourlay, K. A. (1982) ‘Long trumpets of northern Nigeria in history and today’. Journal of International library of African Music, 6(2), 4872.Google Scholar
Gourse, L. (1999) Wynton Marsalis: Skain’s Domain: A Biography. New York: Schirmer Books.Google Scholar
Grammatopoulos, E., White, A. P. and Dhopatkar, A. (2012) ‘Effects of playing a wind instrument on the occlusion’. American Journal of Orthodontics & Dentofacial Orthopedics, 141(2), 138–45.Google Scholar
Grano, J. (1998) Handel’s Trumpeter: The Diary of John Grano, HBS Bucina Series 3, ed. Ginger, J.. Stuyvesant, NY: Pendragon Press. [Original MS 1728/29 held at GB: Ob(Rawlinson D. 34)]Google Scholar
Green, H. (2006) ‘Stadtpfeifer and varende lewte: Secular musical patronage in the imperial cities of Germany during the reign of Maximilian I (1486–1519)’. D. Phil thesis, University of Oxford.Google Scholar
Green, H.(2011) ‘Defining the city “trumpeter”: German civic identity and the employment of brass instrumentalists, c.1500’. Journal of the Royal Musical Association, 136(1), 131.CrossRefGoogle Scholar
Groce, N. (1991) Musical Instrument Makers of New York: A Directory of Eighteenth and Nineteenth Century Urban Craftsmen. Stuyvesant, NY: Pendragon Press.Google Scholar
Guilloux, F. (2016) ‘Braun’s Gamme et Méthode pour les Trombones: Some new evidence’. HBSJ, 28, 7395.Google Scholar
Gumbert, F. (1879) Praktische Horn-Schule. Leipzig: Forberg.Google Scholar
Gumplowicz, P. (2001) Les travaux d’Orphée. Deux siècles de pratique musicale amateur en France (1820–2000). Paris: Aubier.Google Scholar
Gunn, J. (1793) The Art of Playing the German-Flute. London.Google Scholar
Gutmann, V. (1980) ‘Il Dolcimelo von Aurelio Virgiliano: eine handschriftliche Quelle zur musikalischen Praxis um 1600’. In Gutmann, V. (Ed.), Basler Studien zur Interpretation der Alten Musik. Winterthur: Amadeus.Google Scholar
Hachenberg, K. F. (1998) ‘The Complaint of the Markneukirchen brass-instrument makers about the poor quality of brass from the Rodewisch Foundry, 1787–1795’. HBSJ, 10, 116–45.Google Scholar
Haine, M. (1980) Adolphe Sax, sa vie son oeuvre, ses instruments de musique. Brussels: Editions de l’Université de Bruxelles.Google Scholar
Haine, M.(1985) Les facteurs d’instruments de musique à Paris au XIXe siècle. Des artisans face à l’industrialisation. Brussels: Editions de l’Université de Bruxelles.Google Scholar
Haine, M. and De Keyser, I. (1980) Catalogue des Instruments Sax au Musée Instrumental de Bruxelles suivi de la liste de 400 instruments Sax conservés dans des collections publiques et privées. Brussels: Musée Instrumental.Google Scholar
Haine, M. and De Keyser, I.(1986) ‘Mahillon’. In Haine, M. and Meeùs, N. (Eds.), Dictionnaire des facteurs d’instruments de musique en Wallonie et à Bruxelles du 9e siècle à nos jours, 274–8. Liège: P. Mardaga.Google Scholar
Haine, M. and Meeùs, N. (1986) Dictionnaire des Facteurs d’Instruments de Musique en Wallonie et à Bruxelles. Liège: Pierre Mardaga.Google Scholar
Hale, J. (2003) ‘Salpinx and salpinktes: Trumpet and trumpeter in ancient Greece’. In Basson, A. and Dominik, W. (Eds.), Literature, Art, History: Studies in Classical Antiquity and Tradition in Honour of W. J. Henderson, 267–73. New York: Peter Lang.Google Scholar
Halfpenny, E. (1960) ‘William Shaw’s “Harmonic Trumpet”’. GSJ, 13, 713.Google Scholar
Hall, H. H. (1980) A Johnny Reb Band from Salem: The Pride of Tarheelia, rev. edn. New York: Da Capo.Google Scholar
Hall, H. H.(2006) A Johnny Reb Band from Salem: The Pride of Tarheelia, rev. edn. Chapel Hill: University of North Carolina Press.Google Scholar
Hallai, N., Meirion Hughes, T. and Stone, N. (2004) ‘Contact allergy to thiuram in a musician’. Contact Dermatitis, 51(3), 154.Google Scholar
Hamilton, A. (1879) New and Original Complete Tutor for the Bombardon in E♭. London.Google Scholar
Hammerich, A. (1893) Studier over Bronzelurerne I. Københaven: Nationalmuseet I.Google Scholar
Hampel, A. (c.1794) Seule et vraie méthode pour apprendre facilement les élémens des premier et second cors, revised Punto, Giovanni (Stich, Johann Wenzel). Paris: Naderman.Google Scholar
Hampson, J. N. (c.1893) Besses o’ th’ Barn Band: Its Origin, History and Achievements. Northampton: Jos. Rogers.Google Scholar
Han, G. (1995) Shanghai Gongbuju yuedui yanjiu (Study of Shanghai Municipal Orchestra and Band). Taipei: Yishujia chubanshe.Google Scholar
Handrow, R. (2014) Berühmte Posaunenvirtuosen. Reichenberg: Crescendo-brass.Google Scholar
Harding, R. E. M. (1971) Thematic Catalogue of the Works of Matthew Locke: With a Calendar of the Main Events of His Life. Printed for the Compiler by Alden & Mowbray/distributed by B. H. Blackwell.Google Scholar
Harper, T. (senior) (1837) Instructions for the Trumpet with the Use of the Chromatic Slide. Also the Russian Valve Trumpet, the Cornet à Pistons or Small Stop Trumpet, and the Keyed Bugle. London: Author, 1st edn, 1835; 2nd edn, 1837. Facsimile of 1837 ed. Homer, NY: Spring Tree Enterprises, 1988.Google Scholar
Harper, T. (junior) (1865) Harper’s School for the Cornet-à-pistons. London.Google Scholar
Harper, T.(1875) Harper’s school for the trumpet: containing (in addition to the usual instructions) a full description of the instrument, observations on the use of the slide, and on the mode of writing music for the trumpet, also several remarks connected with the art of playing the instrument, and 100 progressive exercises. London: Rudall, Carte & Co.Google Scholar
Hartinger, A. and Menzel, K. (2009) ‘Der barocke “Lituus” und seine Verwendung in Johann Sebastian Bachs Motette “O Jesu Christ, meins Lebens Licht” (BVW 118): Quellenkundliche und instrumententechniche Bermerkungen zu einem Forschungsprojekt der Schola Cantorum Basiliensis.Glareana 58(1/2), 3344.Google Scholar
Haynes, B. (2002) A History of Performing Pitch: The Story of ‘A’. Lanham: Scarecrow.Google Scholar
Hazen, M. H. (1990) Register of the Hazen Collection of Band Photographs and Ephemera ca. 1818–1931. Washington, DC: Smithsonian Center.Google Scholar
Hazen, M. H. and Hazen, R. M. (1987) The Music Men: An Illustrated History of Brass Bands in America, 1800–1920. Washington, DC: Smithsonian Institution Press.Google Scholar
Hebert, D. G. (2008) ‘Alchemy of brass: Spirituality and wind music in Japan’. In Richards, E. M. and Tanosaki, K. (Eds.), Music of Japan Today, 236–44. Newcastle: Cambridge Scholars Publishing.Google Scholar
Hebert, D. G.(2012) Wind Bands and Cultural Identity in Japanese Schools. New York: Springer Press.Google Scholar
Heise, B. and Gelloz, T. (2013) Goldene Klänge im mystichen Grund: Musikinstrumente für Richard Wagner. Leipzig: Museum für Musikinstrumente der Universität Leipzig.Google Scholar
Heister, H.-W. and Sparrer, W. W. (Eds.) (1992) Komponisten der Gegenwart. Munich: edition text+kritik.Google Scholar
Helenius-Öberg, E. (1977) ‘Svenskt instrumentmakeri 1720–1800. En preliminär översikt’. Svensk Tidskrift för Musikforskning (Swedish Journal of Musicology), 1, 543.Google Scholar
Hellfer, M. (1994) Mchod-rol; Les instruments de la musique tibétaine. Paris: CNRS.Google Scholar
Herbert, T. (1990) ‘The repertory of a Victorian provincial brass band’. Popular Music, 9(1), 117–32.Google Scholar
Herbert, T.(1991) ‘A lament for Sam Hughes: The last ophicleidist’. Planet: The Welsh Internationalist, (July), 6675.Google Scholar
Herbert, T.(2000a) The British Brass Band: A Musical and Social History. Oxford: Oxford University Press.CrossRefGoogle Scholar
Herbert, T.(2000b) ‘God’s perfect minstrels: The bands of the Salvation Army’. In Herbert, T. (Ed.), The British Brass Band: A Musical and Social History, 187216. Oxford: Oxford University Press.Google Scholar
Herbert, T.(2004) ‘Selling brass instruments: The commercial imaging of brass instruments (1830–1930) and its cultural messages’. Music in Art, 29(1–2), 213–26.Google Scholar
Herbert, T.(2005) ‘Matthew Locke and the cornett and sackbut ensemble in England after the Restoration: the labelled evidence’. In Polk, K. (Ed.), Brass Music at the Cross Roads of Europe. Utrecht: STIMU.Google Scholar
Herbert, T.(2006) The Trombone. New Haven, CT and London: Yale University Press.Google Scholar
Herbert, T.(2010) ‘Trombone glissando: A case study in continuity and change in brass instrument performance idioms’. HBSJ, 22, 118.Google Scholar
Herbert, T.(2011) ‘“… men of great perfection in their science … ”: The trumpeter as musician and diplomat in England in the later fifteenth and sixteenth centuries’. HBSJ, 13, 123.Google Scholar
Herbert, T.(2016) ‘Carl Florian Mandel and the production, consumption, and status of “military” brasswind instruments in the 19th century’. In Libin, L. (Ed.), Instrumental Odyssey: a tribute to Herbert Heyde. Hillsdale, NY: Pendragon Press.Google Scholar
Herbert, T. and Barlow, H. (2013) Music & the British Military in the Long Nineteenth Century. Oxford: Oxford University Press.Google Scholar
Herbert, T. and Myers, A. (1988) ‘The instruments of the Cyfarthfa Band’. GSJ, 41, 210.Google Scholar
Herbert, T. and Myers, A.(2010) ‘Music for the multitude: Accounts of the brass bands entering Enderby Jackson’s Crystal Palace contests in the 1860s’. EM, 38(4), 571–84.Google Scholar
Herbert, T. and Wallace, J. (Eds.) (1997) The Cambridge Companion to Brass Instruments. Cambridge: Cambridge University Press.Google Scholar
Herfurth, C. P. (1937) A Tune a Day. Boston: Boston Music Co.Google Scholar
Herfurth, C. P.(1944) A Tune a Day: A First Book for Trombone or Baritone Instruction. Boston: Boston Music Co.Google Scholar
Herfurth, C. P. and Miller, V. R. (1954) A Tune a Day: A First Book for French Horn, F and B Flat, or E Flat Horn [or] Mellophone. Boston: Boston Music Co.Google Scholar
Herfurth, C. P. and Miller, V. R.(1941) A Tune a Day, for Cornet (Trumpet) Instruction. Boston: Boston Music Co.Google Scholar
Hettrick, W. F. (1994) The ‘Musica instrumentalis deudsch’ of Martin Agricola: A treatise on musical instruments, 1529 and 1545. Cambridge: Cambridge University Press.Google Scholar
Heuser, F. and McNitt-Gray, J. L. (1991) ‘EMG potentials prior to tone commencement in trumpet players’. Medical Problems of Performing Artists, 6(4), 51–6.Google Scholar
Heuser, F. and McNitt-Gray, J. L.(1993) ‘EMG patterns in embouchure muscles of trumpet players with asymmetrical mouthpiece placement’. Medical Problems in Performing Artists, 8, 96102.Google Scholar
Heuser, F. and McNitt-Gray, J. L.(1998) ‘Enhancing and validating: pedagogical practice. The use of electromyography during trumpet instruction’. Medical Problems of Performing Artists, 13(4), 155–9.Google Scholar
Heyde, H. (1975) Grundlagen des natürlichen Systems der Musikinstrumente. Leipzig: VEB Deutscher Verlag für Musik.Google Scholar
Heyde, H.(1976) Historische Musikinstrumente im Bachhaus Eisenach. Eisenach: Bachhaus.Google Scholar
Heyde, H.(1980) Katalog des Händelhauses Halle, volume 7: Blasinstrumente, Orgeln, Harmoniums. Halle an der Saale: Händel-Haus.Google Scholar
Heyde, H.(1980, 1982) Katalog des Musikinstrumentenmuseums der Karl-Marx-Universität Leipzig, volume 3: Trompeten; volume 5: Hörner und Zinken. Leipzig: VEB Deutscher Verlag für Musik.Google Scholar
Heyde, H.(1987a) Das Ventilblasinstrument: Seine Entwicklung im deutschen Sprachraum von den Anfängen bis zur Gegenwart. Leipzig and Wiesbaden: VEB Deutscher Verlag für Musik and Breitkopf & Härtel.Google Scholar
Heyde, H.(1987b) ‘Zu Klassifizierung und Katalogisierung Per una carta del restauro: conservazione, restauro e riuso degli strumenti musicali antichi: atti del convegno internazionale Venezia’. In Laini, M. (Ed.), Convegno Internatzionale Venezia, Vol. Quaderni della Rivista Italiana di Musicologica … 15, 1724. Venezia: Leo S. Olschki.Google Scholar
Heyde, H.(1989) Historische Musikinstrumente der Staatlichen Reka-Sammlung am Bezirksmuseum Viadrina Frankfurt (Oder): Katalog. Leipzig and Wiesbaden: Breitkopf & Härtel.Google Scholar
Heyde, H.(1993) ‘Maker’s marks on wind instruments’. In The New Langwill Index, trans. William Waterhouse, xiiixxviii. London: Tony Bingham.Google Scholar
Heyde, H.(2007) ‘Entrepreneurship in pre-industrial instrument making’. Musikalische Aufführungspraxis in nationalen Dialogen des 16. Jahrhunderts, Vol II, Musikinstrumentenbau-Zentren im 16. Jahrhundert. Augsburg: Michaelstein.Google Scholar
Heyde, H.(2015) ‘The bass horn and upright serpent in Germany, Part 1: The continental bass horn’. HBSJ, 27, 2139.Google Scholar
Hickman, J. and Lyren, D. (1994) Magnificent Méndez. Tempe, AZ: Summit Records/Books.Google Scholar
Hickmann, H. (1946) La Trompette dans l’Égypte Ancienne. Cairo: Institut Français d’Archéologie Orientale.Google Scholar
Hiebert, T. (1992) ‘Virtuosity, experimentation and innovation in horn writing from early 18th century Dresden’. HSBJ, 4, 112–59.Google Scholar
Hiebert, T.(1997) ‘The horn in the Baroque and Classical periods’. In Herbert, T. and Wallace, J. (Eds.), The Cambridge Companion to Brass Instruments, 103–14. Cambridge: Cambridge University Press.Google Scholar
Hill, D. (2001) ‘New music for and because of Barry Tuckwell’. Collected Thoughts on Teaching, Learning, Creativity and Horn Performance, 170–6. Miami, FL: Warner Bros.Google Scholar
Hiller, A. (1984) ‘The trumpet in the north German postal services of the 19th century’. BB, 47, 1218.Google Scholar
Hiller, A.(2000) Das große Buch vom Posthorn, 2nd edn. Wilhelmshaven: Florian Noetzel.Google Scholar
Hindemith, P. (1937) Unterweisung im Tonsatz. Mainz: Schott.Google Scholar
Hindmarsh, P. (2000) ‘Building a repertoire: Original compositions for the British brass band (1913–98)’. In Herbert, T. (Ed.), The British Brass Band: A Musical and Social History. Oxford: Oxford University Press.Google Scholar
Hintermaier, E. (1972) ‘Die Salzburger Hofkapelle von 1700 bis 1806: Organisation und personal’. PhD dissertation, University of Salzburg, Salzburg.Google Scholar
Hirano, T., Kudo, K., Ohtsuki, T. and Kinoshita, H. (2013) ‘Orofacial muscular activity and related skin movement during the preparatory and sustained phases of tone production on the French horn’. Motor Control, 17(3), 256–72.Google Scholar
Hirata, Y., Schulz, M., Altenmuller, E., Elbert, T. and Pantev, C. (2004) ‘Sensory mapping of lip representation in brass musicians with embouchure dystonia’. Neuroreport, 15(5), 815–18.Google Scholar
Hirschberg, A., Gilbert, J., Msallam, R. and Wijnands, A. P. J. (1996) ‘Shock waves in trombones’. JASA, 99(3), 1754–8.Google Scholar
Hjelt, K. (1910–11) ‘Ett besök i Apostols instrumentfabrik’. Tidning för Musik 1910–11. Sångfestbilaga, xx–yy.Google Scholar
Hollyband, C. (1593) A Dictionary French and English. London: Thomas Woodcock.Google Scholar
Holmes, P. (1978) ‘The manufacturing technology of the Irish Bronze-Age horns, in the origins of metallurgy in Atlantic Europe’. In Ryan, M. (Ed.), Proceedings of the Fifth Atlantic Colloquium, 179–80. Dublin: The Stationery Office.Google Scholar
Holmes, P.(1986) ‘The Scandinavian Bronze Lurs’. Second Conference of the ICTM Study Group on Music Archaeology, Vol. 53. Stockholm: Royal Swedish Academy of Music.Google Scholar
Holmes, P.(2008) ‘The Greek and Etruscan salpinx’. In Both, A. A., Eichmann, R., Hickmann, E. and Koch, L.-C. (Eds.), Studien zur Musikarchäologie VI: Herausforderung und Ziele der der Musikarchäologie: Vortrage des 5. Symposiums der Internationale Studiengruppe Musikarchäologie im Ethnologischen Museum der Staatlichen Museen zu Berlin, 19–23 September 2006, 241–60. Rahden: Verlag Marie Leidorf.Google Scholar
Holmes, P.(2013) ‘The Etruscan lituus, power, prestige, piety, procreation or performance?’ Liranimus, II, Proceedings of the National Association for Musical Instruments Conference, Évora, Portugal.Google Scholar
Holoman, D. K. (1989) Berlioz: A Musical Biography of the Creative Genius of the Romantic Era. Cambridge, MA: Harvard University Press.Google Scholar
Holz, R. W. (2001) Brass Bands of the Salvation Army: Their Mission and Music. Hitchin: Egon.Google Scholar
Hornbostel, E. M. von and Sachs, C. (1914) ‘Systematik der Musikinstrumente: ein Versuch’. Zeitschrift für Ethnologie, 4–5, 553–90.Google Scholar
Hornbostel, E. M. von and Sachs, C.(1961) ‘Classification of Musical Instruments’, trans. Baines, A. and Wachsmann, K. P. GSJ, 14, 329.Google Scholar
Howard, J. A. (2010) ‘Temporomandibular joint disorders, facial pain and dental problems in performing artists’. In Sataloff, R. T., Brandfonbrener, A. G. and Lederman, R. J. (Ed.), Performing Arts Medicine, 151–96. Narberth, PA: Science & Medicine.Google Scholar
Howell, J. (2016) ‘Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire’. PhD thesis, City University of London.Google Scholar
Howey, H. (1991) ‘The lives of Hoftrompeter and Stadtpfeiffer as portrayed in Three Novels of Daniel Speer’. HBSJ, 3, 6578.Google Scholar
Hoza, V. (1983) Schule für Tuba in F und in B. Prague: Edio Supraphon.Google Scholar
Hue, S. and Mayol, J.-L. (1998) 150 Ans de musique à la Garde Républicaine: Mémoires d’un orchestre. Paris: Connétable.Google Scholar
Humphries, J. (2000) The Early Horn: A Practical Guide. Cambridge: Cambridge University Press.Google Scholar
Humphries, J.(2006) ‘W. Brown & Sons: A nearly forgotten name in British brass making’. HBSJ, 18, 115.Google Scholar
Hunsaker, L. A. (2007) ‘Edward H. Tarr and the historic brass revival’. ITGJ, 31 /2(January), 35–9.Google Scholar
Hutchens, T. A. (2016) ‘New editions of G. P. Telemann’s Sonata in F minor TWV 41: f1 and N. A. Rimsky-Korsakov’s Concerto for Trombone’. DMA thesis, Arizona State University.Google Scholar
Hyde, J. (c.1799) A New and Compleat Preceptor for the Trumpet and Bugle Horn. London: 1st edn, Author, c.1799; 2nd edn, Whitaker, c.1800.Google Scholar
Illevold, B. (2016) ‘Eufonium i Norge: tradisjon og innovasjon. En undersøkelse av norsk utøverpraksis på eufonium belyst gjennom Forsvarets musikk og fire kvalitative intervjuer’. Masteroppgave: Norges musikkhøgskole.Google Scholar
Iltis, P. W. and Givens, M. W. (2005) ‘EMG characterization of embouchure muscle activity: Reliability and application to embouchure dystonia’. Medical Problems of Performing Artists, 20, 2534.CrossRefGoogle Scholar
Iltis, P. W., Frahm, J., Voit, D., Joseph, A. R. B. and Altenmuller, D. (2016) ‘Inefficiencies in motor strategies of horn players with embouchure dystonia’. Medical Problems of Performing Artists, 31(2), 6977.Google Scholar
Imbert, M. (1780) Nouvelle méthode, ou Principes raisonnés du plein chant dans sa perfection … contenant aussi une méthode de serpent … par M. Imbert, de Sens … Paris: Vve Ballard et fils.Google Scholar
Irish, J. (2003) ‘Crispian Steele-Perkins: The king’s trumpeter’. ITGJ, 27(4), 1726.Google Scholar
Izikowitz, K. G. (1935) Musical and Other Sound Instruments of the South American Indians. Göteborg: Elanders.Google Scholar
Jaakkola, R. (1989) Blåsmusiken i Åbo 1880–1915. Åbo, Pro gradu-avandling i musikvetenskap 1989. Åbo: Åbo Akademi.Google Scholar
Jabusch, H. C. andAltenmuller, D. (2004) ‘Anxiety as an aggravating factor during onset of focal dystonia in musicians’. Medical Problems of Performing Artists, 19, 7581.Google Scholar
Jabusch, H. C. and Altenmuller, D.(2006) ‘Focal dystonia in musicians: From phenomenology to therapy’. Advances in Cognitive Psychology, 2(2–3), 207–20.Google Scholar
Jöbstl, T. (2001) ‘The Vienna horn’. Thesis, IWK (Institut für Wissenschaft und Kunst, Wien). www.cornoinf.com/pdfs/j%F6bstltrans.pdf.Google Scholar
Johnson, J. A. (2009) ‘Instilling ‘True American Spirit’: The Culion Leper Colony Band’. Annual Meeting of the Society for Ethnomusicology, Mexico City.Google Scholar
Jones, A. F. (2001) Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham: Duke University Press.Google Scholar
Jones, M., Myers, A. and Rice, A. R. (1997) ‘A provisional list of quinticlaves (alto ophicleides) in Europe and the United States’. FoMRHI Quarterly, 86(January), 27–9.Google Scholar
Jones, P. (Ed.) (1997) A Celebration: John Fletcher, tuba extraordinary. London: John Fletcher Trust.Google Scholar
Jones, T. A. (1967) ‘The didjeridu. Some comparisons of its typology and musical functions with similar instruments throughout the world’. Studies in Music, 1, 2355.Google Scholar
Joppig, G. (1992) ‘Václav František Červený: Leading European inventor and manufacturer’, trans. V. von der Lancken. HBSJ, 4, 210–28.Google Scholar
Kälin, W. R. (2002) Die Blasinstrumente in der Schweiz. Zürich: Gesellschaft der Freunde alter Musikinstrumente (GEFAM).Google Scholar
Kaminski, J. (2012) Asante Ntahera Trumpets in Ghana: Culture, Tradition, and Sound Barrage. Farnham and Burlington, VT: Ashgate.Google Scholar
Kampmann, B. (1999) ‘Le trombone à pavillon avant ou arrière’. Larigot, 24, 410.Google Scholar
Kang, J. and Choi, K. (2012) ‘South Sudan band finds some closure’. Korea JoogAng Daily. http://koreajoongangdaily.joins.com/news/article/Article.aspx?aid=2960869.Google Scholar
Karjalainen, K. (1997) ‘The brass band tradition in Finland’. HBSJ, 9, 8396.Google Scholar
Karp, C. (1982) ‘Storage climates for musical instruments’. EM, 10(4), 469–76.Google Scholar
Karp, C.(1986) ‘Musical instruments recovered from the Royal Swedish flagship Kronan (1676)’. Second Conference of the ICTM Study Group on Music Archaeology, 95104. Stockholm: Royal Swedish Academy of Music.Google Scholar
Kartomi, M. J. (1990) On Concepts and Classifications of Musical Instruments. Chicago: Chicago University Press.Google Scholar
Kartomi, M. J.(2010) ‘Toward a methodology of war and peace studies in ethnomusicology: The case of Aceh, 1976–2009’. Ethnomusicology, 54(3), 452–83.Google Scholar
Kastner, J.-G. (1837/1844) Traité général d’instrumentation. Paris: Prilipp.Google Scholar
Kastner, J.-G.(1840) Méthode élémentaire pour le cor. Paris: E. Troupenas.Google Scholar
Kastner, J.-G.(1844) Méthode élémentaire pour l’ophicléïde; Méthode élémentaire pour le trombone; Méthode élémentaire pour le cornet à pistons. Paris: E. Troupenas.Google Scholar
Kastner, J.-G.(1848) Manuel général de musique militaire à l’usage des armées françaises … Paris: Firmin Didot.Google Scholar
Keim, F. (1999) Das Trompeter-Taschenbuch: Wissenswertes rund um die Trompete. Mainz: Atlantis.Google Scholar
Keim, F.(2005) Das grosse Buch der Trompete: Instrument, Geschichte, Trompeterlexikon. Mainz and New York: Schott.Google Scholar
Keim, F.(2009) Das grosse Buch der Trompete: Instrument, Geschichte, Trompeterlexikon Band 2. Mainz and New York: Schott.Google Scholar
Kelly, K. (1998) ‘The dynamics of breathing’. The Instrumentalist, 53(5), 7187.Google Scholar
Kennedy, M. (1964) The Works of Ralph Vaughan Williams. Oxford: Clarendon Press.Google Scholar
Kenyon, N. (1988) Authenticity and Early Music: A Symposium. Oxford and New York: Oxford University Press.Google Scholar
Kharlamov, A. G. (2008) ‘Blazhevich: His life and work’. ITSJ, 36(3), 30–4.Google Scholar
Kim, H. (2013) ‘Battlefields and the field of music: South Korean military band musicians and the Korean war’. In Reily, S. A. and Brucher, K. (Eds.), Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making, 7998. Surrey: Ashgate.Google Scholar
Kirby, P. R. (1934) The Musical Instruments of the Native Races of South Africa. Johannesburg: Witwatersrand University Press.Google Scholar
Kirchner, B. (1997) A Miles Davis Reader. Washington, DC: Smithsonian Institution Press.Google Scholar
Kjellberg, E. (1979) Kungliga musiker i Sverige under stormaktstiden: studier kring deras organisation, verksamheter och status ca 1620–ca 1720. Uppsala: Institutionen för musikvetenskap, Uppsala universitet.Google Scholar
Klaus, S. K. (2006) ‘Henry Courtenay (1820–1881) of Alton: His life, his cornopean, and further thoughts on the “Clapper Shake Key”’. GSJ, 59, 101–15, 248–51.Google Scholar
Klaus, S. K.(2012) Trumpets and Other High Brass. A History Inspired by the Joe R. and Joella F. Utley Collection Volume 1: Instruments of the Single Harmonic Series. Vermillion, South Dakota, National Music Museum.Google Scholar
Klaus, S. K.(2013) Trumpets and Other High Brass volume 2: Ways to Expand the Harmonic Series. Vermillion, SD: National Music Museum.Google Scholar
Klaus, S. K.(2017) Trumpets and Other High Brass. Volume 3: Valves Evolve. Vermillion, SD: National Music Museum.Google Scholar
Klaus, S. K. and Pyle, R. W. (2015) ‘Trumpet mute pitch: An analysis of three historic mutes’. Proceedings of the Third Vienna Talk on Music Acoustics, 8891. Vienna: University of Music and Performing Arts.Google Scholar
Klein, J. G. F. (1760) Beschreibung der Metall-Lothe und Löthungen. Berlin.Google Scholar
Kloss, M. B., Thompson, V., Dressler, J. C. and O’Hara, K. A. (1997) ‘Horn design by Tuckwell’; ‘Tuckwell on teaching’; ‘Tuckwell Discography: Solo and chamber music’; ‘Barry Tuckwell: A bibliography’. JIHS, 27(May), 41–4; 4753; 5567; 6972.Google Scholar
Klotz, C. (1863) Praktische Schule für das einfache u. Chromatische [Horn]. Offenbach: André.Google Scholar
Klotz, D. A., Howard, J., Hengerer, A. S. and Slupchynskj, O. (2001) ‘Lipoinjection augmentation of the soft palate for velopharyngeal stress incompetence’. Laryngoscope, 111(12), 2157–61.Google Scholar
Knouse, N. R. (1997) ‘American Moravian brass players: What did they play?’. In Carter, S. (Ed.), Perspectives in Brass Scholarship: Proceedings of the International Historic Brass Symposium, Amherst, 1995, 135–49. Stuyvesant, NY: Pendragon.Google Scholar
Köchel, L. R. von (1869) Die kaiserliche Hof-Musikkapelle in Wien von 1543 bis 1867. Vienna: Beck’sche Universitäts-Buchhandlung.Google Scholar
von Köchel, L. R.(1872) Johann Josef Fux, Hofcompositor und Hofkapellmeister. Vienna: Hölder.Google Scholar
Koehler, E. (2003) ‘In search of the Hummel: Perspectives on the Trumpet Concerto of 1803’. ITGJ, 27(2), 717.Google Scholar
Koehler, E.(2015) A Dictionary for the Modern Trumpet Player. Lanham: Rowman & Littlefield.Google Scholar
Koenig, H. (1857) Koenig’s Tutor for the Cornet à pistons, Pt. 1. London.Google Scholar
Kolb, A. (2014) ‘Gegen Mauern anspielen: Der Komponisten und Posaunisten Vinko Globokar wird 80’. Neue Musikzeitung, 63(7).Google Scholar
Kongsted, O., et al. (1990) Masser af messing – en udstilling om trompetinstrumenter. Copenhagen: Musikhistorisk Museum og Carl Claudius’ Samling.Google Scholar
Kongsted, O.,(2011) ‘The secular “rex splendens”: Music as representative art at the court of Christian IV’. Studia Musicologica Regionis balticae, I, 189215.Google Scholar
Koonyaditse, O. A. (2010) The Politics of South African Football. South Africa: African Perspectives.Google Scholar
Kopp, J. B. (2008) ‘William Waterhouse (1931–2007)’. GSJ, 61, 363–5.Google Scholar
Kopprasch, G. (1833a) Soixante Etudes pour Cor-Alto, Op. 5. Leipzig: Breitkopf & Härtel.Google Scholar
Kopprasch, G.(1833b) Soixante Etudes pour Cor-Basse, Op. 6. Leipzig: Breitkopf & Härtel.Google Scholar
Kosleck, J. (1872) Große Schule für Cornet à Piston und Trompete. Leipzig: Breitkopf & Härtel.Google Scholar
Kreitner, K. (1990) Discoursing Sweet Music: Town Bands and Community Life in Turn-of-the-Century Pennsylvania. Urbana: University of Illinois Press.Google Scholar
Kridel, C. (2012) ‘The Serpent Forveille, “Perhaps the best of all these instruments for sound”’. ITEAJ, 39(3, Spring), 62–5.Google Scholar
Krummel, D. W. et al. (1981) Resources of American Music History: A Directory of Source Materials from Colonial Times to World War II. Urbana: University of Illinois.Google Scholar
Kuhn, J. M. and Cimera, J. (1941) Kuhn-Cimera Method for Tuba, BB♭ and E♭,. New York, NY: Boosey & Hawkes, Belwin.Google Scholar
Kun, G. et al. (Eds.) (1894) Qinding daqing huidian tu (Imperial book on institutions and laws of the Great Qing Dynasty). n.p.Google Scholar
Kunitz, H. (1959) Die Posaune. Leipzig: Breitkopf & Härtel.Google Scholar
Lafosse, A. (1921/1946) Méthode complète de trombone à coulisse. Paris: Alphonse Leduc.Google Scholar
Lafosse, A.(1949) School of Sight Reading and Style for Tenor Trombone. New York: M. Baron Co.Google Scholar
Lafosse, A.(1955) Traité de pédagogie du trombone à coulisse. Paris: A. Leduc.Google Scholar
Lafosse, A.(1956) Vade mecum du tromboniste. The Trombone Player’s vade mecum. Paris: Alphonse Leduc.Google Scholar
Lamb, A. (2016) ‘On the 3D printing of musical instruments’. Galpin Society Newsletter, 44, 46.Google Scholar
Lambert, E. (1923) Complete and Progressive Method for the French Horn. Paris: Henry Lemoine & Cie.Google Scholar
Lange, F. C. (1966) ‘A organização musical durante o período colonial brasileiro’. Colóquio Internacional de Estudos Luso-Brasileiros. Coimbra.Google Scholar
Lange, F. C.(1946/1990) ‘A música em Minas Gerais – um informe preliminar’. In Mourão, R. (Ed.), O alemão que descobriu a América, 99179. Belo Horizonte, Itatiaia: Instituto nacional do Livro.Google Scholar
Langey, O. (1885a) Tutor for the Bombardon. London.Google Scholar
Langey, O.(1885b) Tutor for the Cornet. London: Hawkes.Google Scholar
Langey, O.(1885c) Tutor for the Tenor Slide Trombone. London: Hawkes.Google Scholar
Larkin, C. (2006) (Ed.) The Encyclopedia of Popular Music, 4th edn. Oxford: Oxford University Press.Google Scholar
D., Lasocki (2009/2010) ‘New light on the early history of the keyed bugle from newspaper advertisements’. HBSJ, 21/22, 1150, 1934.Google Scholar
(2010) ‘New light on eighteenth-century English woodwind makers from newspaper advertisements’. GSJ, 63, 73142.Google Scholar
(2012) Research on the Bassano Family, 1995–2012. Portland, OR: Instant Harmony.Google Scholar
Lasocki, D. with Prior, R. (1995) The Bassanos: Venetian Musicians and Instrument Makers in England, 1531–1665. Aldershot: Scolar Press.Google Scholar
(2012) The Bassanos: Venetian Musicians and Instrument Makers in England, 1531–1665. Portland, OR: Instant Harmony.Google Scholar
Lawergren, B. (2003) ‘Oxus trumpets, ca. 2200–1800BCE: Material overview, usage, societal role, and catalog’. Iranica Antiqua, 38, 41118.Google Scholar
Lawson, G. (1991) ‘Medieval trumpet from the City of London II’. GSJ, 44, 150–6.Google Scholar
Lawson, G. and Egan, G. (1988) ‘Medieval trumpet from the City of London’. GSJ, 41, 63–6.Google Scholar
Lederman, R. J. (2001) ‘Embouchure problems in brass instrumentalists’. Medical Problems of Performing Artists, 16, 53–7.Google Scholar
Lederman, R. J.(2010) ‘Neurological problems of performing artists’. In Sataloff, R. T., Brandfonbrener, A. G. and Lederman, R. J. (Eds.), Performing Arts Medicine, 5175. Narberth, PA: Science & Medicine.Google Scholar
Lee, A., Furuya, S., Morise, M., Iltis, P. and Altenmuller, E. (2014) ‘Quantification of instability of tone production in embouchure dystonia’. Parkinsonism & Related Disorders, 20(11), 1161–4.Google Scholar
Leech-Wilkinson, D. (1981) ‘Il libro de appunti di un suonatore di tromba del quindecesimo secolo’. RIM (Répertoire international des médiévistes), 16, 1639.Google Scholar
Leibhold, L. (2000) ‘Sensation or forgery? The 1677 soprano trombone of Christiann Kofahl’. HBSJ, 12, 259–65.Google Scholar
Leppert, R. (1987) ‘Music, domestic life and cultural chauvinism: Images of British subjects at home in India’. In Leppert, R. and McClary, S. (Eds.), Music and Society: The Politics of Composition, Performance and Reception, 63104. Cambridge: Cambridge University Press.Google Scholar
Leppert, R.(1988) Music and Image. Cambridge: Cambridge University Press.Google Scholar
Leppert, R.(1993) The Sight of Sound: Music, Representation and the History of the Body. Berkeley: University of California Press.Google Scholar
Levin, R. D. (1989) ‘Instrumental ornamentation, improvisation and cadenzas’. In Brown, H. M. and Sadie, S. (Eds.), Performance Practice: Music after 1600. London: Macmillan.Google Scholar
Levin, S. Y. (1963) Fagot. Moscow.Google Scholar
Levine, H. L. (1986) ‘Functional disorders of the upper airway associated with playing wind instruments’. Cleveland Clinic Quarterly, 53(1), 1113.Google Scholar
Levy, J. (1895) Levy’s Cornet Instructor. Elkhart, IN: C. G. Conn & Co.Google Scholar
Lewy, J. R. (c.1850) Douze Etudes pour le cor chromatique et le cor simple. Paris: Girard.Google Scholar
Leymarie, I. (2002) Cuban Fire: The Story of Salsa and Latin Jazz. London and New York: Continuum.Google Scholar
Libin, L. (1987) ‘The Eisenbrandt family pedigree’. In Hellwig, F. (Ed.), Studia organological: Festrschrift für John Henry van der Meer, 335–42. Tutzing: Schneider.Google Scholar
Libin, L.(2000) ‘Progress, adaptation, and the evolution of musical instruments’. JAMIS, 26, 187213.Google Scholar
Libin, L.(Ed.) (2016) Instrumental Odyssey: A Tribute to Herbert Heyde. Hillsdale, NY: Pendragon Press.Google Scholar
Lindhard, K. (1932) Klingende spil. Af den danske militærmusiks historie. Copenhagen.Google Scholar
Lindley, A. F. (1966) Ti-ping Tien-kwoh: The History of the Ti-ping Revolution. London: Day & Song.Google Scholar
Littlemore, A. (1999) Foden’s Band: One Hundred Years of Musical Excellence. Chapel-en-le-Frith: Caron.Google Scholar
Liu, C. (2007) ‘Ouzhou yinyue xueyuan yu Shanghai yinyue xueyuan (Music conservatories in Europe and the Shanghai Conservatory of Music)’. Art of Music, Journal of the Shanghai Conservatory of Music, 3 (September), 6574.Google Scholar
Liu, C.(2009) Zhongguo xinyinyue shilun (A Critical History of New Music in China). Hong Kong: Chinese University Press.Google Scholar
Logier, J. B. (1813) Introduction to the Art of Playing on the Royal Kent Bugle. Dublin: Logier.Google Scholar
Lorenz, M. (2013) ‘A little Leitgeb research’. Musicological Trifles and Biographical Paralipomena. michaelorenz.blogspot.com/2013/04/a-little-leitgeb-research.html.Google Scholar
Lucia, R. (1994) ‘Effects of playing a musical wind instrument in asthmatic teenagers’. Journal of Asthma, 31(5), 375–85.Google Scholar
Ludwig, H. (1886) Johann Georg Kastner, ein alsäsischer Tondichter, Theoretiker, und Musikforscher: Sein Werden und Wirken. Leipzig: Breitkopf & Härtel.Google Scholar
Lurton, X. (1981) ‘Étude analytique de l’impédance d’entrée des instruments à embouchure’. Acustica united with Acta Acustica, 49, 142–51.Google Scholar
Ma, D. (2002) Ershi shiji zhongguo xuexiao yinyue jiaoyu (Twentieth Century Music Education in Chinese Schools). Shanghai: Shanghai jiaoyu chubanshe.Google Scholar
Macaluso, R. (2001) ‘A grandmaster: Théo Charlier’. ITGJ, 25(4), 30–6.Google Scholar
Macdonald, H. (2002) Berlioz’s Orchestration Treatise: A Translation and Commentary. Cambridge: Cambridge University Press.Google Scholar
Macfarlane, G. (c.1837) The Cornopean, Instructor. London: Köhler & Son, 2nd edn 1855; 3rd edn c.1860.Google Scholar
Mactaggart, P. and Mactaggart, A. (Eds.) (1986) Musical Instruments in the 1851 Exhibition. Welwyn: Mac & Me.Google Scholar
Madeuf, P.-Y., Madeuf, J.-F. and Nicholson, G. (1999) ‘The Guitbert trumpet: A remarkable discovery’. HBSJ, 11, 181–6.Google Scholar
Magnússon, M. (1984) Skært lúðrar hljóma. Saga Íslenskra lúðrasveita. Reykjavík.Google Scholar
Mahillon, V.-C. (1874/R1984) Éléments d’acoustique musicale et instrumentale. Brussels: C. Mahillon.Google Scholar
Mahillon, V.-C.(1880–1922) ‘Catalogue descriptif et analytique du Musée instrumental du Conservatoire royal de musique de Bruxelles’. Ghent: C. Annoot-Braeckman.Google Scholar
Malick, D., Moon, J. and Canady, J. (2007) ‘Stress velopharyngeal incompetence: Prevalence, treatment, and management practices’. Cleft Palate-Craniofacial Journal, 44(4), 424–33.Google Scholar
Mandel, C. F. (1859) A Treatise on the Instrumentation of Military Bands: Describing the Character and Proper Employment of Every Musical Instrument used in Reed Bands. London: Boosey & Sons.Google Scholar
Manfredo, J. (2010) ‘The Selmer Company, 1885–1927: Historical and socio-economic factors that influenced its development and relocation from Paris to New York City to Elkhart, Indiana’. Journal of Band Research, 46(1), 2338.Google Scholar
Maniquet, C. (2015) ‘Que sonnent les trompettes, Tintignac, un sanctuaire au cœur de la Gaule’. L’Archéologue, 135, 1429.Google Scholar
Manniche, L. (1976) Musical Instruments from the Tomb of Tut’ankhamūn. Oxford: Griffith Institute.Google Scholar
Marix, J. (1939) Histoire de la Musique et des Musiciens de la Cour de Bourgogne sous le règne de Philippe le Bon. Strasbourg; rept Geneva, 1972.Google Scholar
Markham, F. (1622) Five Decades of Epistles of Warre. London.Google Scholar
Marpurg, F. W. (1757) Historisch-Kritische Beyträge zur Aufnahme der Musik III. Berlin: Lange.Google Scholar
Marquis, D. M. (1978) In Search of Buddy Bolden: First Man of Jazz. Baton Rouge, LA: Louisiana State University Press.Google Scholar
Martin, G. and Hornsby, J. (1979) All You Need Is Ears. London: Macmillan.Google Scholar
Martin, S. H. (1991) ‘Brass bands and the Beni phenomemon in urban Africa’. African Music, 7(1) 7281.Google Scholar
Martínez U, J. (1995) Mecanismos de Anclaje de la Identidad Musical Mapuches Urbanos. Valdivia: Colegio de Antropólogos de Chile A. G.Google Scholar
Martz, R. J. (2016) ‘Kruspe’. http://rjmartz.com/horns/Kruspe_097/.Google Scholar
Marucini, L. (1577) Il Bassano. Venetia: Appresso Gratioso Perchachino.Google Scholar
Marvin, R. M. (Ed.) (2014) The Cambridge Verdi Encyclopedia. Cambridge: Cambridge University Press.Google Scholar
Mathez, J.-P. (1977) Joseph Jean-Baptiste Laurent Arban (1825–1889): Portrait d’un musicien français du XIXe siècle. Moudon: BIM.Google Scholar
Mathez, J.-P.(1998) ‘The history of King and Benge’. BB, 104(4), 5872.Google Scholar
Mathez, J.-P.(2001) ‘Kalison, 3rd generation’. BB, 115, 84–8.Google Scholar
Mathez, J.-P.(2003) ‘Jean-François Madeuf: Breathing new life into the historical trumpet’. BB, 122, 8693.Google Scholar
Matthys, J. et al. (2012) En avant, marche! Over majorettes, harmonies, fanfares en andere blaasorkesten. Veurne: Hannibal.Google Scholar
Maunder, R. (1998) ‘A biographical index of Viennese wind-instrument makers, 1700–1800’. GSJ, 51, 170–91.Google Scholar
Maxime-Alphonse, (1920–5) Deux cents études nouvelles mélodiques et progressives en six cahiers formant en ensemble allant de la petite difficulté à la virtuosité. Paris: Alphonse Leduc.Google Scholar
Mayer, A. and Bertsch, M. (2005) ‘A new 3-D transducer for measuring the trumpet mouthpiece force’. In Horvat, M. and Jambrocic, K. (Eds.), Proceedings of Second Congress of Alps-Adria Acoustics Association and First Congress of Acoustical Society of Croatia, 217–23. Zagreb, Croatia: Acoustical Society of Croatia.Google Scholar
Mayhew, H. (1851) London Labour and the London Poor. London: Charles Griffin and Company.Google Scholar
McClary, S. (1991/2002) Feminine Endings: Music, Gender and Sexuality. Minneapolis: University of Minnesota Press.Google Scholar
McClimon, S. (2013) ‘Western challenge, Japanese musical response: Military bands in modern Japan’. In Brucher, K. and Reily, S. A. (Eds.), Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making, 5578. Aldershot: Ashgate.Google Scholar
McClusker, J. (2012) Creole Trombone: Kid Ory and the Early Years of Jazz. Jackson, MS: University of Mississippi Press.Google Scholar
McConnachie, B. (2008) ‘An African brass band (DVD review of a film by Hugo Zemp)’. African Music, 8(2), 126–7.Google Scholar
McDonald, D. (1986) The Odyssey of The Philip Jones Brass Ensemble. Bulle: Éditions BIM.Google Scholar
McGrattan, A. (1995) ‘The trumpet in funeral ceremonies in Scotland and England during the 17th century’. HBSJ, 7, 168–84.Google Scholar
McGrattan, A.(2016) ‘George Case: Trombonist, antiquarian and angler’. The Trombonist (Magazine of the British Trombone Society), Spring, 23–4.Google Scholar
Meifred, P.-J. (1840/R1869) Méthode pour le cor chromatique où à pistons. Paris: Richault.Google Scholar
Melton, W. (2008) The Wagner Tuba: A History. Aachen: edition ebenos.Google Scholar
Méndez, R. and Gibney, E. (1961) Prelude to Brass Playing. Boston: Carl Fischer.Google Scholar
Menke, W. (1934/R1985) History of the Trumpet of Bach and Handel. Nashville, TN: The Brass Press.Google Scholar
Meredith, A. and Harris, P. (2004) Malcolm Arnold – Rogue Genius: The Life and Music of Britain’s Most Misunderstood Composer. Norwich: Thames/Elkin.Google Scholar
Merewether, R. (1978) The Horn, the Horn … London: Paxman Musical Instruments.Google Scholar
Mersenne, Marin (1627) Traité de l’harmonie universelle. Paris: Guillaume Baudry. (F-Pn). Rept Paris: Fayard, 2003.Google Scholar
Mersenne, Marin(1636–7) Harmonie Universelle, contenant la Théorie et la Pratique de la Musique, Paris: Sebastien Cramoisy. (F-Pn, IMSLP). Eng. trans. Roger E. Chapman. The Hague: M. Nijhoff, 1957.Google Scholar
Metcalf, O. (1978) ‘The New York Brass Quintet: Its history and influence on brass literature and performance’. D.M. thesis, Indiana University.Google Scholar
Meucci, R. (1988–9) ‘Il cimbasso e gli strumenti affini nell’Ottocento italiano’. Studi Verdiani, V, 109–62; also in GSJ, 49, 143–79, Eng. trans., abridged, 1996.Google Scholar
Meucci, R.(1989) ‘Roman military instruments and the Lituus’. GSJ, 42(Aug), 8597.Google Scholar
Meucci, R.(1994) ‘The Pelitti firm: Makers of brass instruments in nineteenth-century Milan’, trans. Pelitti, E. HBSJ, 6, 304–33.Google Scholar
Meucci, R.(1996) ‘Il cimbasso e gli strumenti affini nell’Ottocento italiano’. Studi Verdiani, V (1988–9), 109–62; Eng. trans., abridged, GSJ, 49, 143–79.Google Scholar
Meucci, R.(2008/R2010) Strumentaio: Il costruttore di strumenti musicali nella tradizione occidentale. Venezia: Marsilio.Google Scholar
Meucci, R.(2015) ‘Pelitti’. Dizionario Biografico degli Italiani, 82.Google Scholar
Meurisse, T., Mamou-Mani, A., Caussé, R., Sluchin, B. and Sharp, D. B (2015) ‘An active mute for the trombone’. JASA, 138, 3539–48.Google Scholar
Mirka, D. (2014) The Oxford Handbook of Topic Theory. Oxford: Oxford University Press.Google Scholar
Mitchell, J. C. (1956) ‘The Kalela Dance: Aspects of the social relationships among urban Africans in Northern Rhodesia’. The Rhodes-Livingstone Papers, Vol. 27. Manchester: Manchester University Press.Google Scholar
Mitroulia, E. (2009) ‘The saxotromba: Fact or fiction?JAMIS, 35, 123–60.Google Scholar
Mitroulia, E.(2011) ‘Adolphe Sax’s brasswind production with a focus on saxhorns and related instruments’. PhD thesis, University of Edinburgh.Google Scholar
Mitroulia, E.(2014) ‘A newly proposed scheme for dating all numbered wind instruments by Adolphe Sax’. HBSJ, 26, 1322.Google Scholar
Mitroulia, E. and Myers, A (2011) ‘The Distin family as instrument makers and dealers’. Scottish Music Review, 2. www.scottishmusicreview.org/index.php/SMR/article/view/20.Google Scholar
Monelle, R. (2006) The Musical Topic Hunt, Military and Pastoral. Bloomington: Indiana University Press.Google Scholar
Monk, C. W. (1975) ‘First steps towards playing the cornett’. EM, 3(2), 132–3; 3(3), 244–8.Google Scholar
Monk, C. W.(1986) The Serpent Player. West Sussex: Chiltern Music.Google Scholar
Monson, I. T. (2008a) ‘Fitting the part’. In Rustin, N. T. and Tucker, S. (Eds.), Big Ears: Listening for Gender in Jazz Studies, 267–87. Durham: Duke University Press.Google Scholar
Monson, I. T.(2008b) Freedom Sounds: Civil Rights Call Out to Jazz and Africa. New York: Oxford University Press.Google Scholar
Montagu, J. (1976) The World of Medieval & Renaissance Musical Instruments. Woodstock and New York: Overlook Press.Google Scholar
Montagu, J.(1978) ‘One of Tut’ankhamūn’s trumpets’. Journal of Egyptian Archaeology, 64, 133–4.Google Scholar
Montagu, J.(2002) Musical Instruments of the Bible. Lanham, MD and London: Scarecrow Press.Google Scholar
Montagu, J.(2003) ‘Why Ethno-organology?’ http://jeremymontagu.co.uk/ethnoorganology.pdf.Google Scholar
Montagu, J.(2014) Horns and Trumpets of the World: An Illustrated Guide. Lanham, MD: Rowman & Littlefield.Google Scholar
Montagu, J.(2015) The Shofar: Its History and Use. Lanham, MD: Rowman & Littlefield.Google Scholar
Montagu, J. and Montagu, G. (1998) Minstrels and Angels. Carvings of Musicians in Medieval English Churches. Berkeley: Fallen Leaf Press.Google Scholar
Moraes, M. C. (1997) O paradigma educacional emergente. Campinas: Papirus.Google Scholar
Morgenstern, D. (2000) ‘Recorded jazz’. In Kirchner, B. (Ed.), The Oxford Companion to Jazz. Oxford: Oxford University Press.Google Scholar
Morley, T. (1599/1611) The First Booke of Consort Lessons, Made by Diuers Exquisite Authors, for Sixe Instruments to Play Together: Viz., the Treble Lute, the Pandora, the Citterne, the Base-violl, the Flute, and the Treble-violl. London: printed by Thomas Snodham for Iohn Brown.Google Scholar
Morley-Pegge, R. (1953) ‘Letter to Galpin Society Journal’. GSJ, 6(July), 103–5.Google Scholar
Morley-Pegge, R.(1960/1973) The French Horn. London: Ernest Benn.Google Scholar
Morrow, W. (1895) ‘The trumpet as an orchestral instrument’. PMA, 21, 133–47.Google Scholar
Mortimer, H. with Lynton, A. (1981) Harry Mortimer on Brass. Sherborne: Alphabooks.Google Scholar
Moyle, A. M. (1981) ‘The Australian didjeridu: A late musical intrusion’. World Archaeology, 12(3), 321–31.Google Scholar
Münkwitz, M. (2005) ‘The Birckholtz trumpet’. http://trompetenmacher.de/en/historical/introduction/.Google Scholar
Münkwitz, M., Seraphinoff, R. and Barclay, R. L. (2014) Making a Natural Trumpet: Herstellung einer Naturtrompete. Ottawa: Loose Cannon Press.Google Scholar
Murrells, J. (1984) Million Selling Records: From the 1900s to the 1980s: An Illustrated Directory. London: Batsford.Google Scholar
Myers, A. (1989) ‘A slide tuba’? GSJ, 41, 127–8.Google Scholar
Myers, A.(1997a) ‘How brass instruments work’. In Herbert, T. and Wallace, J. (Eds.), The Cambridge Companion to Brass Instruments, 1923. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Myers, A.(1997b) ‘Design, technology and manufacture since 1800’. In Herbert, T. and Wallace, J. (Eds.), The Cambridge Companion to Brass Instruments, 115–30. Cambridge: Cambridge University Press.Google Scholar
Myers, A.(1998) ‘Characterization and taxonomy of historic brass musical instruments from an acoustical standpoint’. PhD thesis, University of Edinburgh, Edinburgh.Google Scholar
Myers, A.(2000) ‘“On organology”: A position paper’. HBSJ, 12, viiixi.Google Scholar
Myers, A.(2002) ‘Brasswind innovation and output of Boosey & Co in the Blaikley Era’. HBSJ, 14, 391423.Google Scholar
Myers, A.(2003) ‘Brasswind manufacturing at Boosey & Hawkes 1930–45’. HBSJ, 15, 5572.Google Scholar
Myers, A.(2009) ‘Use of serial numbers in dating musical instruments’. Paris: Cité de la Musique. www.citedalamusique.fr/pdf/insti/recherche/dater/myers_en.pdf.Google Scholar
Myers, A.(2012) ‘How different are cornets and trumpets’? HSBJ, 24, 113–28.Google Scholar
Myers, A.(2016) ‘The “concert” or “vocal” horn’. GSJ, 69, 168–80.Google Scholar
Myers, A.(2017) ‘Complexité ultime: Système “Synchrotonic” de pistons’. Larigot, 60(Décembre), 2427.Google Scholar
Myers, A.(2018a) ‘Made in Manchester: Instruments of the Higham firm’. GSJ, 71, 161–78.Google Scholar
Myers, A.(2018b) ‘The typology and timbre of the tuba’. Proceedings of the 41st Academic Conference and 33rd Symposium on Musical Instrument Making From the Serpent to the Tuba: Development and use of Low Lip-vibrated Wind Instruments with Holes and Valves. Kloster Michaelstein, 7–9 November 2014.Google Scholar
Myers, A., Bromage, S. and Campbell, D. M. (2005) ‘The acoustical identity of the bass trumpet’. Proceedings, Forum Acusticum, 405–10. Budapest, Hungary, 29 August–2 September.Google Scholar
Myers, A. and Eldredge, N. (2006) ‘The brasswind production of Marthe Besson’s London Factory’. GSJ, 59, 4375.Google Scholar
Myers, A. and Parks, R. (2011) Euphoniums and Tubas: Catalogue of the Collection vol. 2 Part H Fascicle x, 3rd edn. Edinburgh: Edinburgh University Collection of Historic Musical Instruments.Google Scholar
Myers, A. and Tomes, F. (1995) ‘PCB cornets and Webster trumpets: Rudall Carte’s patent conical bore brasswind’. HBSJ, 7, 107–22.Google Scholar
Myers, A., Pyle, R. W. Jr., Gilbert, J., Campbell, D. M., Logie, S. and Chick, J. P. (2012) ‘Effects of nonlinear sound propagation on the characteristic timbres of brass instruments’. JASA, 131(1), 678–88.Google Scholar
Myers, H. W. (1989) ‘Slide trumpet madness: Fact or fiction?EM, 17(3), 382–9.Google Scholar
Navratil, M. and Rejsek, K. (1968) ‘Lung function in wind instrument players and glassblowers’. Annals of the New York Academy of Sciences, 155(A1), 276–83.Google Scholar
Nemetz, A. (1827) Neueste Posaun-Schul. Vienna: Anton Diabelli & Co.Google Scholar
Nemetz, A.(1828) Allgemeine Trompeten-Schule Opus 17. Vienna: Anton Diabelli & Co.Google Scholar
Nemetz, A.(1829) Horn-schule: für das einfache Maschin u. Signal-Horn 18tes Werk. Vienna: Anton Diabelli & Co.Google Scholar
Neuenfeldt, K. W. (Ed.) (1998) The Didjeridu: From Arnhem Land to Internet. Bloomington: Indiana University Press.Google Scholar
Newcomb, S. P. (1963) Music of the People: The Story of the Band Movement in New Zealand, 1845–1963. Christchurch: G. R. Mowat.Google Scholar
Newsom, J. (Ed.) (1983) Perspectives on John Philip Sousa. Washington, DC: Library of Congress.Google Scholar
Newsome, R. (2005) 150 Golden Years: The History of the Black Dyke Band. London: World of Brass Publications.Google Scholar
Newsome, R.(2006) The Modern Brass Band: From the 1930s to the New Millenium. Aldershot and Burlington, VT: Ashgate.Google Scholar
Newton, M., Kenny, J., Chick, J., Lopez-Carromero, A., Murray Campbell, D. and Gilbert, J. (2015) ‘The Tintignac carnyx: An acoustical study of an early brasswind instrument’. Journal of the Acoustical Society of America, 138, 3.Google Scholar
Niemistö, P. (2009) The Johann Friedrich Anderst Brass Instrument Collection at the Kuopio Historical Museum. Kuopio: Kuopio Cultural History Museum.Google Scholar
Niles, D. (1998) ‘The Conchshell Band as preserver of German and Papua New Guinean Lutheran traditions.The World of Music, 40(2), 5368.Google Scholar
Nilsson, A.-M. (2001) ‘Brass instruments in small Swedish wind ensembles during the late 19th century’. HBSJ, 13, 176209.Google Scholar
Nilsson, H. (1942) ‘Instrumentmakare I. V. Wahl och hans verkstad’. Kulturen, en årsbok 1942, 77111. Lund.Google Scholar
Nizet, P. M., Borgi, J. F. and Horvath, S. M. (1976) ‘Wandering atrial pacemaker (prevalence in French hornists)’. Journal of Electrocardiology, 9(1), 51–2.Google Scholar
Nketia, J. H. K. (1962) ‘The Hocket-Technique in African music’. Journal of the International Folk Music Council, 14, 4452.Google Scholar
Norman, L., Myers, A. and Campbell, D. M. (2010) ‘Wagner tubas and related instruments: An acoustical comparison’. GSJ, 63, 143–58.Google Scholar
Nzibo, Y. A. (1985/86) ‘The Beni and Lelama Dance Associations. The Nairobi experience’. Staff Seminar Paper No. 7. Nairobi: University of Nairobi, Department of History.Google Scholar
Oldeberg, A. E. (1947) ‘A contribution to the history of the Scandinavian bronze lur in the Bronze and Iron Ages’. Acta archaeologica, 18.Google Scholar
Olson, R. D. (2017) Zig Kanstul: Last of the Great Masters. Anaheim, CA: Kanstul Musical Instruments (KMI).Google Scholar
Orth, J. (2015) ‘Tubas on the rise: The tuba as a signifier of twenty-first century Mexican-American music culture in Southern California’. Dissertation, University of North Texas. www.jesseorth.com/media.html.Google Scholar
Osthoff, W. (1956) ‘Trombe sordini.’ Archiv für Musikwissenschaft, XIII, 7795.Google Scholar
Packenham, S. (1957) Ralph Vaughan Williams: A Discovery of His Music. London: Macmillan.Google Scholar
Pang, P. (2015) ‘Reflecting musically: The Shanghai Municipal Orchestra as a semi-colonial construct’. PhD thesis, University of Hong Kong.Google Scholar
Panofsky, E. (1939) ‘Introductory’. In Studies in Iconology: Humanistic Themes in the Art of the Renaissance, 331. New York: Oxford University Press.Google Scholar
Papsin, B. C., Maaske, L. A. and McGrail, J. S. (1996) ‘Orbicularis oris muscle injury in brass players’. Laryngoscope, 106(6), 757–60.Google Scholar
Parks, R. (1999) Portfolio of Drawings of Mouthpieces for Brass Instruments. Edinburgh: Edinburgh University Collection of Historic Musical Instruments.Google Scholar
Partch, H. (1949/R1979) Genesis of a Music: An Account of a Creative Work, Its Roots and its Fulfillments. Boston, MA: Da Capo Press.Google Scholar
Pawlowski, Z. and Zoltowski, M. (1987) ‘A physiological evaluation of the efficiency of playing the wind instruments – an aerodynamic study’. Archives of Acoustics (Poland), 12, 291–9.Google Scholar
Perl, B. (2004) ‘The doubtful authenticity of Mozart’s D major horn concerto’. HBSJ, 16, 6788.Google Scholar
Perullo, A. (2011) Live from Dar es Salaam: Popular Music and Tanzania’s Music Economy, Bloomington and Indianapolis: Indiana University Press.Google Scholar
Petiot, J.-F. (2003) ‘Measurement of the force applied to the mouthpiece during brass instrument playing’. Proceedings of the Stockholm Music Acoustics Conference, 225–8. Stockholm: KTH Royal Institute of Technology.Google Scholar
Pettitt, S. J. (2012) Dennis Brain: A Biography. London: Faber & Faber.Google Scholar
Peuckner, P. (2008) ‘The Role and Development of Brass Music in the Moravian Church’. In Knouse, N. R. (Ed.), The Music of the Moravian Church in America, 169–88. Rochester: University of Rochester Press.Google Scholar
Phasey, A. J. (1858) Chappell’s Popular Instruction Book for the Euphonium. London: Chappell.Google Scholar
Philip, R. (1992) Early Recordings and Musical Style: Changing Tastes in Instrumental Performance 1900–1950. Cambridge: Cambridge University Press.Google Scholar
Philip, R.(2006) ‘Recordings before globalisation’. In Carter, S. (Ed.), Brass Scholarship in Review: Proceedings of the Historic Brass Society Conference, Cité de la Musique, Paris 1999, 275–88. Hillsdale, NY: Pendragon.Google Scholar
Philippon, C. (1982) ‘Les musiques militaires’. In Wangermée, R. and Mercier, P. (Eds.), La musique en Wallonie et à Bruxelles, Vol. 2, 260–7. Brussels: La Renaissance du Livre.Google Scholar
Picon, O. (2010) ‘The Corno da Tirarsi’. Thesis, Schola Cantorum Basiliensis.Google Scholar
Piedade, A. T. d. C. (1999) ‘Flautas e trompetes sagrados do noroeste amazônico: sobre gênero e música do Jurupari’. Horizontes antropológicos, 11, 93118.Google Scholar
Pierre, C. (1890) La facture instrumentale à l’Exposition universelle de 1889; notes d’un musicien sur les instruments à souffle humain nouveaux & perfectionnés. Paris: Librarie de l’Art Indépendant.Google Scholar
Pierre, C.(1893) Les facteurs d’instruments de musique. Paris.Google Scholar
Pierre, C.(1900) ‘Le Conservatoire national de musique et de déclamation: documents historiques et administratifs’. Paris: Imprimerie Nationale.Google Scholar
Pierre, C.(1895) Sarrette et les origines du Conservatoire national de musique et de déclamation. Paris: Delalain.Google Scholar
Pieters, F. (1981) Van trompetsignaal tot muziekkapel. Anderhalve eeuw militaire muziek in België. Kortrijk: Muziekcentrum.Google Scholar
Pieters, F.(2003) La Musique Royale des Guides. Un siècle d’enregistrements. Brussels: Les Amis de la Musique Royale des Guides.Google Scholar
Piggot, S. (1959) ‘The Carnyx in Early Iron-Age Britain’. Antiquaries Journal, 39, 1932.Google Scholar
Pilipczuk, A. (1985) ‘Elfenbeinhörner im sakralen Königtum Schwarzafrikas’. In Vogel, M. (Ed.), Orpheus Schriftenreihe zu Grundfragen der Musik, Vol. 42. Bonn: Verlag für systematische Musikwissenschaft.Google Scholar
Pisarowitz, K. M. (1970) ‘Mozart’s Schnorrer Leutgeb’. Mitteilungender Internationalen Stiftung Mozarteum, 18(3/4), 21–6.Google Scholar
Pizka, H. (1980) Das Horn bei Mozart. Kirchheim: Hans Pizka Edition.Google Scholar
Planas, J. (1982) ‘Rupture of the orbicularis oris in trumpet players (Satchmo’s syndrome)’. Plastic & Reconstructive Surgery, 69(4), 690–3.Google Scholar
Polk, K. (1989) ‘The Schubingers of Augsburg: Innovation in Renaissance instrumental music’. In Brusniak, F. and Leuchtman, H. (Eds.), Quaestiones in musica. Festschrift für Franz Krautwurst, 495503. Tutzing: Schneider.Google Scholar
Polk, K.(1992) German Instrumental Music in the Late Middle Ages. Cambridge: Cambridge University Press.Google Scholar
Polk, K.(2005) ‘Tielman Susato and the music of his time’. In Polk, K. (Ed.), Print Culture Compositional Technique and Instrumental Music in the Renaissance, 117–32. Hillsdale, NY: Pendragon Press.Google Scholar
Pollens, S. (2015) The Manual of Musical Instrument Conservation. Cambridge: Cambridge University Press.Google Scholar
Poncet, J. (2005) Manuel de trompe de chasse. Paris: Périnet.Google Scholar
Poole, H. E. (1982) ‘A catalogue of musical instruments offered for sale in 1839 by D’Almaine & Co., 20 Soho Square’. GSJ, 25, 236.Google Scholar
Poulopoulos, P. and Myers, A. (2016) ‘A review of preventative and remedial conservation practices in EUCHMI’. In Marconi, E. (Ed.), Diagnostic and Imaging on Musical Instruments, 6970. Firenze: Nardini Editore.Google Scholar
Praetorius, M. (1614/15–20) Syntagma musicum, 3 vols. and pictorial supplement. Wittenberg and Wolfenbüttel: Johannes Richter (vol. 1) and Elias Holwein (vols. 2 and 3). Facsimile. Kassel: Bärenreiter 1958–9. Eng. trans. Kite-Powell, J. T., Oxford: Oxford University Press, 2004.Google Scholar
Praetorius, M.(1614/15) Syntagma musicum, volume 1, Syntagmatis musici tomus primus: Musicae artis analecta. Wittenberg and Wolfenbüttel: Johannes Richter.Google Scholar
Praetorius, M.(1618/1619a) Syntagma musicum, volume 2, Syntagmatis musici tomus secundus: De Organographia. Wittenberg and Wolfenbüttel: Elias Holwein.Google Scholar
Praetorius, M.(1618/1619b) Syntagma musicum, volume 3, Syntagmatis musici tomus tertius: Termini musici, Wittenberg and Wolfenbüttel: Elias Holwein.Google Scholar
Praetorius, M.(1620) Syntagma musicum, (pictorial supplement), Theatrum instrumentorum seu sciagraphia. Wittenberg and Wolfenbüttel: Elias Holwein.Google Scholar
Preiss, J. H. (1988) A música nas missões jesuíticas nos séculos XVII e XVIII. Porto Alegre: Martins Livreiro.Google Scholar
Price, K., Schartz, P. and Watson, A. H. D. (2014) ‘The effect of standing and sitting postures on breathing in brass players’. SpringerPlus, 3, 210.Google Scholar
Projean, C. P. (1846) Méthode complète d’ophicléïde pour l’accompagnement du plainchant. Lyon: Dubois et Projean.Google Scholar
Proksch, B. (2015) ‘Refining the narrative of Anton Weidinger’s prototype keyed trumpet’. Proceedings of the Third Vienna Talk on Music Acoustics. Vienna: University of Music and Performing Arts.Google Scholar
Prout, E. (1892/1901) Strumentazione, ed. Ricci, V.. Milan. It. trans. as Instrumentation, London, 1877/R.Google Scholar
Punto, G. (Stich, J. W.) (1793/1794) Étude ou Exercise Journalier Ouvrage Périodique pour le Cor. Paris: L’Amuse du jour.Google Scholar
Pyle, R. W. (1975) ‘Effective length of horns’. JASA, 57, 1309–17.Google Scholar
Quanjer, P. H., Tammeling, G. J., Cotes, J. E., Pedersen, O. F., Peslin, R. and Yernault, J. C. (1993) ‘Lung volumes and forced ventilatory flows. Report Working Party Standardization of Lung Function Tests, European Community for Steel and Coal. Official Statement of the European Respiratory Society’. European Respiratory Journal, Supplement, 16, 540.Google Scholar
Ranger, T. O. (1975) Dance and Society in East Africa (1890–1970): The Beni Ngoma. London: Heinemann.Google Scholar
Raquet, M. and Martius, K. (2007) ‘The Schnitzer Family of Nuremberg and a newly rediscovered trombone’. HBSJ, 19, 1124.Google Scholar
Rasmussen, M. (1961) ‘Two early nineteenth-century trombone virtuosi: Carl Traugott Queisser and Friedrich August Belcke’. Brass Quarterly, 5(1), 317.Google Scholar
Rasmussen, M.(1964/1968) A Teacher’s Guide to the Literature of Brass Instruments. Durham, NH: Appleyard.Google Scholar
Rasmussen, M. and Mattran, D. (1966) A Teacher’s Guide to the Literature of Woodwind Instruments. Durham, NH: Brass and Woodwind Quarterly.Google Scholar
Ratner, L. G. (1980) Classic Music: Expression, Form, and Style. New York: Schirmer Books.Google Scholar
Raucoules, A. (2008) De la musique et des militaires. Paris: Ministère de la Défense, Somogy.Google Scholar
Rehrig, W. H. (1991) ‘The heritage encyclopedia of band music’. In Bierley, P. E. (Ed.), The Heritage Encyclopedia of Band Music. Westerville, OH: Integrity Press.Google Scholar
Reily, S. A. (2013) ‘From processions to encontros: The performance niches of the community bands of Minas Gerais, Brazil’. In Brucher, K. and Reily, S. A. (Eds.), Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making, 99137. Aldershot: Ashgate.Google Scholar
Reily, S. A. and Brucher, K. (Eds.) (2013) Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making. Farnham: Ashgate.Google Scholar
Ricci, V. and Prout, E. (1920) L’orchestrazione nella sua essenza, nella sua evoluzione e nella sua tecnica. Manuale ad uso degli allievi di composizione e dei cultori delle discipline musicali. Manuali Hoepli: Milano.Google Scholar
Rice, A. R. (2009) From the Clarinet d’Amour to the Contra Bass. Oxford and New York: Oxford University Press.Google Scholar
Rice, J. A. (1996) ‘The musical bee: References to Mozart and Cherubini in Hummel’s “New Year” Concerto’. Music & Letters, 77(3), 401–24.Google Scholar
Rimmer, J. (1999) ‘Anthony Cuthbert Baines 1912–1997 – a Biographical Memoir’. GSJ, 52, 1126.Google Scholar
Rimsky-Korsakov, N. A. (1923) My Musical Life. New York: Alfred A. Knopf.Google Scholar
Rimsky-Korsakov, N. A., Shteĭnberg, M. O. and Agate, E. (1922) Nicolas Rimsky-Korsakov. Principles of Orchestration, with Musical examples Drawn from His Own Works. Berlin: Édition russe de musique.Google Scholar
Rimsky-Korsakov, N. A., Shteĭnberg, M. O. and Agate, E.(1964) Principles of Orchestration, with Musical Examples Drawn from His Own Works, New York: Dover.Google Scholar
Rindisbacher, T., Hirschi, U., Ingervall, B. and Geering, A. (1990) ‘Little influence on tooth position from playing a wind instrument’. The Angle Orthodontist, 60(3), 223–8.Google Scholar
Robert, F. (2003) ‘Garde républicaine, musique de la’. In Fauquet, J.-M. (Ed.), Dictionnaire de la musique en France au XIXe siècle, 504. Paris: Fayard.Google Scholar
Roberts, M. (1982) ‘A note on the hunting horn (bucina) in the Latin poetry of Late Antiquity’. Classical Philology, 77(3), 248–52.Google Scholar
Roeser, V. (c.1764) Essai d’instruction à l’usage de ceux qui composent pour la clarinette et le cor. Paris: Le Menu. Facsimile, Geneva: Minkoff, 1972.Google Scholar
Rognoni, R. (1592) Passaggi per potersi essercitare nel diminuire terminatamente con ogni sorte di instrumenti, et anco diversi passaggi per la semplice voce humana. Venice: Giacomo Vincenti. Ed. Dickey, B., Bologna: Forni, 2002.Google Scholar
Rollinson, T. H. (1893) Modern School for the Slide Trombone. n.p.Google Scholar
Romero, R. R. (1990) ‘Musical change and cultural resistance in the Central Andes of Peru’. Latin American Music Review, 11(1), 135.Google Scholar
Romero, R. R.(2001) Debating the Past: Music, Memory, and Identity in the Andes. New York: Oxford University Press.Google Scholar
Rondón, C. M. (2008) The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City, Chapel Hill, NC, University of North Carolina.Google Scholar
Rorive, J.-P. (2014) Adolphe Sax: His Life, His Creative Genius, His Saxophones, A Musical Revolution. Luxembourg: Gerard Klopp Editeur.Google Scholar
Rosanov, S. (n.d.) Zametki o Konservatorii (Conservatoire Student Records). Muzei imeni Glinki. Manuscript. f. 172, n. 10.Google Scholar
Rose, A. S. (1895/1995) Talks with Bandsmen. Reprinted edition with a new introduction by Arnold Myers. London: Tony Bingham.Google Scholar
Rosen, C. (1995) The Romantic Generation. Cambridge, MA: Harvard University Press.Google Scholar
Rosen, C.(1971/1997) The Classical Style: Haydn, Mozart, Beethoven. New York and London: Norton.Google Scholar
Rosen, C.(1998) Romantic Poets, Critics, and Other Madmen. Cambridge, MA: Harvard University Press.Google Scholar
Rosenberg, J. (1989) ‘Il vero modo di diminuir: A Translation’. HBSJ, 1, 109–14.Google Scholar
Rosenkranz, K., Williamon, A., Butler, K., Cordivari, C., Lees, A. J. and Rothwell, J. C. (2005) ‘Pathophysiological differences between musician’s dystonia and writer’s cramp’. Brain, 128(Pt 4), 918–31.Google Scholar
Ross, A. (2008) The Rest is Noise. London: Fourth Estate.Google Scholar
Rosset i Llobet, J. and Fabregas i Molas, S. (2010) Musician’s Dystonia: A Practical Manual to Understand and Take Care of the Disorder That Affect the Ability to Play Music. Rome: Panamir.Google Scholar
Roy, E. (1824) Méthode de Trompette sans Clef et avec Clef. Mayence: B. Schott Fils. Facsimile, Vuarmarens: Bim, 2009.Google Scholar
Roy, E. and Müller, (c.1832) Roy and Müller’s Tutor for the Keyed and Valve Trumpet. London: R. Cocks and Co.Google Scholar
Roze, N. (1814) Méthode de serpent adoptée par le Conservatoire Impériale de musique pour le service du culte et le service militaire. n.p.Google Scholar
Russell, J. F. and Elliot, J. H. (1936) The British Brass Band. London: J. M. Dent & Sons.Google Scholar
Rustin, N. T. and Tucker, S. (Eds.) (2008) Big Ears: Listening for Gender in Jazz Studies. Durham, NC: Duke University Press.Google Scholar
Ryberg, I. S. (1955) Rites of the State Religion in Roman Art. Rome: American Academy in Rome.Google Scholar
Sachs, C. (1940) The History of Musical Instruments. New York: Norton.Google Scholar
Sackey, C. K. (1995) Highlife. Entwicklung und Stilformen ghanaischer Gegenwartsmusik. Münster: LIT Verlag.Google Scholar
Saint-Jacome, L. (1870) New and Modern Grand Method for the Cornet-à-pistons, Soprano Saxhorn or Bariton. London: J. R. Lafleur.Google Scholar
Sakakeeny, M. (2006) ‘Resounding silence in the streets of a musical city’. Space and Culture, 9(1), 41–4.Google Scholar
Sakakeeny, M.(2010) ‘“Under the Bridge”: An orientation to soundscapes in New Orleans’. Ethnomusicology, 54(1), 127.Google Scholar
Sakakeeny, M.(2013) ‘The representational power of the New Orleans brass band’. In Brucher, K. and Reily, S. A. (Eds.), Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making, 123–37. Aldershot: Ashgate.Google Scholar
Salas, J. D. (2011) ‘The sound concept and musical styles of Banda Sinaloense’. ITEAJ, 39(1), 50–5.Google Scholar
Salgado, G. V. (1987) Córdoba: su gente e su folklore. Montería, Colombia: Casa de la Cultura.Google Scholar
Savan, J. (2012) ‘From hornet to cornett: In search of the “missing link”’. HBSJ, 24, 123.Google Scholar
Savan, J.(2016) ‘Unlocking the mysteries of the Venetian cornett: ad imitar piu la voce humana’. HBSJ, 28, 3155.Google Scholar
Sax, A. (c.1865) Tablature du Nouveau Trombone à six pistons et tubes indépendants. Paris: Sax.Google Scholar
Schafer, W. J. (1977) Brass Bands and New Orleans Jazz. Baton Rouge: Louisiana State University Press.Google Scholar
Schafhäutl, K. E. v. (1854) ‘Musikinstrumente’. Berichte der Beurteilungscommission bei der allgemeinen deutschen Industrieausstellung in München, 1854, Sect iv, 169–70.Google Scholar
Schlesinger, K. (1910–11) ‘Euphonium’. Encyclopædia Britannica.Google Scholar
Schlossberg, M. (1937/1959) Daily Drills and Technical Studies. New York: Maurice Baron.Google Scholar
Schmidtmann, G., Jahnke, S., Seidel, E. J., Sickenberger, W. and Grein, H. J. (2011) ‘Intraocular pressure fluctuations in professional brass and woodwind musicians during common playing conditions’. Graefe’s Archive for Clinical and Experimental Ophthalmology, 249(6), 895901.Google Scholar
Schubart, C. (1806) Ideen zu einer Ästhetik der Tonkunst. Vienna.Google Scholar
Schuller, G. (1962/1992) Horn Technique. London and New York: Oxford University Press.Google Scholar
Schuller, G.(1968/1986) Early Jazz: Its Roots and Musical Development. New York: Oxford University Press.Google Scholar
Schuller, G.(1989) The Swing Era: The development of Jazz, 1930–1945. New York: Oxford University Press.Google Scholar
Schuller, G.(1997) The Compleat Conductor. New York: Oxford University Press.Google Scholar
Schuller, G.(2011) Gunther Schuller: A Life in Pursuit of Music and Beauty. Rochester, NY: University of Rochester Press.Google Scholar
Schuman, J. S., Massicotte, E. C., Connolly, S., Hertzmark, E., Mukherji, B. and Kunen, M. Z. (2000) ‘Increased intraocular pressure and visual field defects in high resistance wind instrument players’. Ophthalmology, 107(1), 127–33.Google Scholar
Schwab, B. and Schultze-Florey, A. (2004) ‘Velopharyngeal insufficiency in woodwind and brass players’. Medical Problems of Performing Artists, 19, 21–5.Google Scholar
Schwab, H. W. (1957/ R1975) Bands of America. Garden City, NY: Doubleday; rept, New York: Da Capo Press.Google Scholar
Schwab, H. W.(1982) Die Anfänge des weltlichen Berufsmusikertums in der mittelalterlichen Stadt. Kassel: Kieler Schriften zur Musikwissenschaft.Google Scholar
Schwartz, R. I. (2000) ‘The cornet compendium: The history and development of the nineteenth-century cornet’. www.angelfire.com/music2/thecornetcompendium/.Google Scholar
Selfridge-Field, E. (1975) Venetian Instrumental Music from Gabrieli to Vivaldi. New York: Praeger.Google Scholar
Seraphinoff, R. (1996) ‘Nodal venting on the Baroque horn: A study in non-historical performance practice’. The Horn Call, 27(1), 21–4.Google Scholar
Shaw, G. B. (1981) Shaw’s Music: The Complete Musical Criticism in Three Volumes, ed. Lawrence, D. H.. London: Bodley Head.Google Scholar
Sheehy, D. E. (2008) ‘Mexico’. In Olsen, D. A. and Sheehy, D. E. (Eds.), The Garland Handbook of Latin American Music, 181208. New York and Abingdon: Routledge.Google Scholar
Shipton, A. (1999) Groovin’ High: The Life of Dizzy Gillespie. Oxford: Oxford University Press.Google Scholar
Shook, B. (2011) Last Stop, Carnegie Hall: New York Philharmonic Trumpeter William Vacchiano. Denton TX: University of North Texas Press.Google Scholar
Sianesi, G. (1895) Metodo per duplex Bombardino-trombone (Si♭): invenzione Pelitti. Milan: D. Vismara.Google Scholar
Skelton, G. (1975) Paul Hindemith: The Man Behind the Music: A Biography. London: Gollancz.Google Scholar
Sluchin, B. and Caussé, R. (1991) Sourdines des Cuivres. Paris: Editions de la Maison des Sciences de l’Homme.Google Scholar
Sluchin, B. and Lapie, R. (1997) ‘Slide trombone teaching and method books in France (1794–1960)’, trans. A. Bonn, P. Ecklund and J. Snedeker. HBSJ, 9, 429.Google Scholar
Smith, A. M. (1993a) ‘Vladislav Mikhailovich Blazhevich (1886 [sic]-1942)’. ITSJ, 21(1), 22–7.Google Scholar
Smith, A. M.(1993b) ‘Respiration for wind musicians – From the Bronze Age to the end of the 20th century: A synoptic review’. TUBA Journal, 20(4), 2845.Google Scholar
Smith, A. M.(Dec. 1994/Feb.1995) ‘The life and work of Vincent Bach, Parts 1 and 2’. ITGJ, 19(2 and 3), 435, 434.Google Scholar
Smith, A. M.(1997) ‘Max Schlossberg: Founder of the American school of trumpet playing in the twentieth century’. ITGJ, 21(4), 2248.Google Scholar
Smith, D. (1989) Trombone Technique in the Renaissance. San Francisco: The King’s Trumpets and Shalmes.Google Scholar
Smith, J. H. (2003) ‘David James who? Some notes on David James Blaikley’. GSJ, 56, 216–23.Google Scholar
Smith, R. and Levine, H. (1986) ‘Hypopharyngeal dilatation in musicians’. Medical Problems of Performing Artists, 1, 20–3.Google Scholar
Smith, W. M. (1935) Forty-one Studies for Developing Lip Flexibility on the Cornet, Trumpet or Baritone in Treble Clef, through Means of Chord Studies in All Seven Valve Positions. New York and Boston: Carl Fischer.Google Scholar
Smith, W. M.(1936) Top Tones for the Trumpeter (or Cornetist). Thirty Modern Etudes Based on the Technical Problems Involved in Mastering the Higher Register and the Acquisition of Extra Technique Demanded at the Present Time. New York and Boston: Carl Fischer.Google Scholar
Smith Brindle, R. S. (1987) The New Music, 2nd edn. Oxford: Oxford University Press.Google Scholar
Smithers, D. L. (1965) ‘The Trumpets of J. W. Haas: A survey of four generations of Nuremberg brass instrument makers’. GSJ, 18, 2341.Google Scholar
Smithers, D. L.(1973) The Music and History of the Baroque Trumpet before 1721. London: Dent.Google Scholar
Smithers, D. L.(1978) ‘The Baroque trumpet after 1721: Some preliminary observations. Part two: Function and use’. EM, 6, 356–61.Google Scholar
Smithers, D. L.(1987) ‘Gottfried Reiches Ansehen und sein Einfluss auf die Musik Johann Sebastian Bachs’. Bach-Jahrbuch, LXXIII, 113–50.Google Scholar
Smithers, D. L.(1988) The Music and History of the Baroque Trumpet before 1721, 2nd edn. Carbondale, IL: Southern Illinois University Press.Google Scholar
Smithers, D. L.(1990) ‘Bach, Reiche and the Leipzig Collegia Musica’. HBSJ, 2, 151.Google Scholar
Solie, R. (Ed.) (1995) Musicology and Difference: Gender and Sexuality in Music Scholarship. Berkley: University of California Press.Google Scholar
Sommer, S. (2004) ‘Some like it hot’. Dance Magazine, 78, 46–7.Google Scholar
Sordillo, F. (1920) Art of Jazzing for the Trombone. Boston: Oliver Ditson Co.Google Scholar
Sorenson, S. P. (1979) ‘Valentine Snow, Handel’s trumpeter’. ITGJ, 4, 511.Google Scholar
Sorenson, S. and Webb, J. (1986) ‘The Harpers and the trumpet’. GSJ, 39, 3557.Google Scholar
Sousa, J. P. (1928/1994) Marching Along: Recollections of Men, Women and Music. Pomona, CA: Integrity Press.Google Scholar
Southall, B., Vince, P. and Rouse, A. (1997) Abbey Road: The Story of the World’s Most Famous Recording Studios. London: Omnibus Press.Google Scholar
Soyer, M. A. (1925) ‘Des instruments à vent’. In Lavignac, A. and de La Laurencie, L. (Eds.), Encyclopédie de la musique et dictionnaire du Conservatoire part 2, Vol. 3, 1401–82. Paris: Delagrave.Google Scholar
Speer, D. (1687/1697) Grund-richter … Unterricht der musicalischen Kunst. Ulm: G. W. Kühne.Google Scholar
Speer, D.(1974) Grund-richtiger, kurtz, leicht und nötiger Unterricht der musicalischen Kunst oder Vierfaches musicalisches Kleeblatt. Facsimile edition with a postscript by I. Ahlgrimm, and a biographical sketch by F. Burkhardt. Leipzig: Peters.Google Scholar
Stainer, J. and Barrett, W. A. (1876; 4/1974) A Dictionary of Musical Terms. London: Novello and Co; New York:Novello, Ewer and Co.Google Scholar
Stal, P. (1994) ‘Characterization of human oro-facial and masticatory muscles with respect to fibre types, myosins and capillaries. Morphological, enzyme-histochemical, immuno-histochemical and biochemical investigations’. Swedish Dental Journal Supplement, 98, 155.Google Scholar
Stal, P., Eriksson, P. O. and Thornell, L. E. (1996) ‘Differences in capillary supply between human oro-facial, masticatory and limb muscles’. Journal of Muscle Research & Cell Motility, 17(2), 183–97.Google Scholar
Stamp, J. (1978) Warm-ups and Studies for Trumpet. Vuarmarens: Editions BIM.Google Scholar
Stasney, C. R., Beaver, M. E. and Rodriguez, M. (2003) ‘Hypopharyngeal pressure in brass musicians’. Medical Problems of Performing Artists, 14, 153–5.Google Scholar
Steele-Perkins, C. (2001) The Trumpet. London: Kahn & Averill.Google Scholar
Steenstrup, K. (2004) Teaching Brass. Aarhus: Royal Academy of Music.Google Scholar
Steinmetz, A., Stang, A., Kornhuber, M., Rollinghoff, M., Delank, K. S. and Altenmuller, E. (2014) ‘From embouchure problems to embouchure dystonia? A survey of self-reported embouchure disorders in 585 professional orchestra brass players’. International Archives of Occupational & Environmental Health, 87(7), 783–92.Google Scholar
Stevens, T. (2011) ‘After Schlossberg ‘. Bulle: BIM.Google Scholar
Stevens, T.(2016) Thomas Stevens on Musicianship: Vacchiano’s Rules and Beyond. DVD. Amazon.Google Scholar
Stevenson, R. (1968) Music in Aztec and Inca Territory. Berkeley and Los Angeles: University of California Press.Google Scholar
Stevenson, S. (2009) ‘Experimental investigations of lip motion in brass instrument playing’. PhD thesis, University of Edinburgh.Google Scholar
Stradner, G. (2015) ‘Transposing mutes for trumpets’. Proceedings of the Third Vienna Talk on Music Acoustics, 92–5. Vienna: University of Music and Performing Arts.Google Scholar
Strakhov, K. A. (n.d.) ‘Orkestry budyat tishinu, Istoriya Pervoy Leningradskoy Shkoly voennomuzykalnykh Vospitannikov (Orchestras breaking the silence, History of the first St Petersburg School of military music education)’. http://positiv.fromru.com/lsvmv.htm.Google Scholar
Strong, E. S. (1923) La scultura romana da Augusto a Constantino. Firenze: Fratelli Alinari.Google Scholar
Sturman, J. L. (2016) The Course of Mexican Music. New York and Abingdon: Routledge.Google Scholar
Sullivan, J. M. (2007) ‘Music for the injured soldier: A contribution of American women’s military bands during World War II’. Journal of Music Therapy, 44(3), 282305.Google Scholar
Sullivan, J. M.(2011) Bands of Sisters: U.S. Women’s Military Bands during World War II. Lanham, MD: Scarecrow Press.Google Scholar
Sun, Y. (2012) Yaogun Zhongguo (Chinese Rock and Roll). Taipei: Showwe Information.Google Scholar
Talusan, M. (2013) ‘Music, race, and imperialism: The Philippine Constabulary Band at the 1904 St. Louis World’s Fair’. In McFerson, H. M. (Ed.), Mixed Blessing: The Impact of the American Colonial Experience on Politics and Society in the Philippines. Westport, CT: Greenwood.Google Scholar
Tamplini, G. (c.1880) Instruction Book for the Concert or Vocal Horn. London: Rudall, Carte Co. Ltd.Google Scholar
Tao, Y. (1994) Zhongxi yinyue jiaoliu shigao (The History of Musical Exchange between China and Western World). Beijing: Zhongguo dabaike quanshu chubanshe.Google Scholar
Tarr, E. H. (1977a) ‘Cesare Bendinelli’. BB, 17(1), 3145.Google Scholar
Tarr, E. H.(1977b) Die Trompete: Ihre Geschichte von der Antike bis zur Gegenwart. Mainz: Schott.Google Scholar
Tarr, E. H.(1988) The Trumpet. London: Batsford.Google Scholar
Tarr, E. H.(1993) ‘The romantic trumpet’. HBSJ, 5, 213–61.Google Scholar
Tarr, E. H.(1994) ‘The romantic trumpet: Part two’. HBSJ, 6, 110215.Google Scholar
Tarr, E. H.(1997) ‘The trumpet before 1800’. In Herbert, T. and Wallace, J. (Eds.), The Cambridge Companion to Brass Instruments, 84102. Cambridge: Cambridge University Press.Google Scholar
Tarr, E. H.(2001) ‘Further mandate against the unauthorized playing of trumpets (Dresden, 1736): introduction and translation’. HBSJ, 13, 6789.Google Scholar
Tarr, E. H.(2003) East Meets West: The Russian Trumpet Tradition from the Time of Peter the Great to the October Revolution, with a Lexicon of Trumpeters Active in Russia from the Seventeenth Century to the Twentieth. Hillsdale, NY: Pendragon Press.Google Scholar
Tarr, E. H.(2006) ‘The “Bach Trumpet” in the nineteenth and twentieth centuries’. In Latcham, M. (Ed.), Musique ancienne–instruments et imagination Music of the past–instruments and imagination. Bern: Peter Lang.Google Scholar
Tarr, E. H.(2008) The Trumpet. Chandler, AZ: Hickman Music Editions.Google Scholar
Tarr, E. H.(2011) Cesare Bendinelli: Tutta l’arte della Trombetta (1614); Complete Translation, Biography and Critical Commentary, with a Contribution by Peter Downey. Vuarmarens, Switzerland: The Brass Press & Editions Bim.Google Scholar
Tarr, E. H.(2012) Hummel, Concerto a Tromba principale (1803): Introduction, Historic Consideration, Analysis, Critical Commentary and Original Solo Part. Vuarmarens, Switzerland: The Brass Press.Google Scholar
Tarr, E. H.(2016) ‘The unnatural trumpet: The adoption of vent-holes in the 1960s and ‘70s’. In Libin, L. (Ed.), Instrumental Odyssey: A Tribute to Herbert Heyde, 109–16. Hillsdale, NY: Pendragon Press.Google Scholar
Tarr, E. H. and Dickey, B. (2007) Bläserartikulation in der alten Musik/Articulation in Early Wind Music. Winterthur: Amadeus.Google Scholar
Taruskin, R. (1996) Stravinsky and the Russian Traditions: A Biography of the Works through Mavra. Berkeley: University of California Press.Google Scholar
Taylor, A. (1979) Brass Bands. St Albans: Granada Press.Google Scholar
Taylor, D. J. (1994) ‘The music of Eric Ball (1903–1989): A complete catalogue, with a commentary on his life and work’. Master’s thesis, Durham University.Google Scholar
Taylor, D. J.(2012) Eric Ball, His Life and Music. Newcastle upon Tyne: Cambridge Scholars Publishing.Google Scholar
Taylor, T. F. (1970) ‘Jeremiah Clarke’s trumpet tunes: Another view of origins’. Musical Quarterly, 56(3), 455–62.Google Scholar
Termsarasab, P. and Frucht, S. J. (2015) ‘Evaluation of embouchure dysfunction: Experience of 139 patients at a single center’. Laryngoscope, 126(6), 1327–33.Google Scholar
Thévet, L. (1960) Méthode complète de cor. complete method of horn. Paris: A. Leduc.Google Scholar
Thomas, P., Rueff, F. and Przybilla, B. (2000) ‘Cheilitis due to nickel contact allergy in a trumpet player’. Contact Dermatitis, 42(6), 351–2.Google Scholar
Thornton, J. (1992) ‘The regalia of the Kingdom of Kongo, 1491–1895’. In Beumers, E. and Koloss, H.-J. (Eds.), Kings of Africa: Art and Authority in Central Africa [Collection Museum für Völkerkunde Berlin], 5663. Maastricht: Foundation Kings of Africa.Google Scholar
Thrasher, A. R. (2000) Chinese Musical Instruments. Oxford: Oxford University Press.Google Scholar
Tilmouth, M. (1961) ‘A calendar of references to music in newspapers published in London and the provinces (1660–1719)’. RMA Research Chronicle, 1.Google Scholar
Timkehet, T. (2009) Aerophone im Instrumentarium der Völker Ostafrikas. Berlin: Trafo.Google Scholar
Timms, C. E. (1957) ‘It started in 1837: The story of a brass wind instrument maker’. In Wright, F. (Ed.), Brass Today. London: Besson & Co.Google Scholar
Tinhorão, J. R. (1998) História social da música popular brasileira. São Paulo: Editora 34.Google Scholar
Togashi, T., Ishimoto, K. and Bandou, R. (2007) Ichi on no nyu kon! (Heart and Soul in a Single Tone!). Tokyo: Kawade Shobo Shinsha.Google Scholar
Tokita, A. M. and Hughes, D. W. (Eds.) (2008) Ashgate Research Companion to Japanese Music. New York: Routledge.Google Scholar
Tomes, F., Klaus, S. K. and Myers, A. (2013) ‘Shaw, Köhler and the disc valve in Britain’. GSJ, 66, 99116.Google Scholar
Tonnoir, R. (1966) ‘Le “Bondjo”: trompe rituelle et instrument priviligié chez les chefs Ekonda’. Africa Tervuren, 12, 4853.Google Scholar
Touvron, G. (2003) Maurice André: Une trompette pour la renommeé. Monaco: Rocher.Google Scholar
Tracy, H. (1950/52) Royal Court Music from Uganda 1950 & 1952. Horn ensembles of Nyoro recorded by Hugh Tracey. Sharp Wood Productions & ILAM, CD. SWP 008/HT02.Google Scholar
Tremmel, E. (1993) Blasinstrumentenbau im 19. Jahrhundert in Südbayern. Augsburg: Wißner.Google Scholar
Tromlitz, J. G. (1791) Ausführlicher und gründlicher Unterricht die Flöte zu spielen. Leipzig: Friedrich Böhme.Google Scholar
Tucker, A., Faulkner, M. E. and Horvath, S. M. (1971) ‘Electrocardiography and lung function in brass instrument players’. Archives of Environmental Health, 23(5), 327–34.Google Scholar
Tucker, M. (1993) The Duke Ellington Reader. Oxford: Oxford University Press.Google Scholar
Tuckwell, B. (1983/2006) The Horn. London: Macdonald.Google Scholar
Turner, A. W. (2014) The Last Post: Music, Remembrance and the Great War. London: Aurum Press Ltd.Google Scholar
Turner, G. and Turner, A. (1996) The Trumpets Will Sound: The Story of the Royal Military School of Music, Kneller Hall. Tunbridge Wells, Kent: Parapress.Google Scholar
Tyson, A. (1987) Mozart: Studies of the Autograph Scores. Cambridge, MA: Harvard University Press.Google Scholar
Utley, J. and Klaus, S. K. (2003) ‘The “Catholic Fingering” – first valve semitone: reversed valve order in brass instruments and related valve constructions’. HBSJ, 15, 73161.Google Scholar
Vacchiano, W. (2004) Advanced Etudes for Trumpet, for Ear Training and Accuracy. Montrose, CA: Balquidder Music.Google Scholar
van Boxtel, A., Goudswaard, P., van der Molen, G., M. and van den Bosch, W. E. (1983) ‘Changes in electromyogram power spectra of facial and jaw-elevator muscles during fatigue’. Journal of Applied Physiology: Respiratory, Environmental & Exercise Physiology, 54(1), 51–8.Google Scholar
Van Dulken, S. (1999) British Patents of Invention, 1617–1977: A Guide for Researchers. London: British Library.Google Scholar
Van Vilsteren, V. and Tamboer, A. (2006) ‘Celtic Bugle, Roman Lituus or Medieval Ban Horn? An evaluation of cast Bronze horns with an upturned bell’. In Hickman, E. (Ed.), 4th Symposium of the International Study Group on Music Archaeology: Music Archaeology in Context, 221–36. Michaelstein, 19–26 September 2004, Rahden.Google Scholar
Vandenbroek, O.-J. (1797) Méthode nouvelle et raisonée. Paris: Chez Nadermann.Google Scholar
Vasari, G. (1568) Le Vite de’ più eccellenti pittori, scultori, e architettori. Florence.Google Scholar
Veerecke, H. (2011) ‘The trombone of Anton Schnitzer the Elder in Verona: A survey of its properties and their acoustical significance’. HBSJ, 23, 2542.Google Scholar
Venable, C. L. (1986) ‘Philadelphia Biedermeier: Germanic-American craftsmen and design in Philadelphia, 1820 to 1850’. Unpublished MA thesis, University of Delaware.Google Scholar
Verdie, J.-C. (2014) ‘Le Quinticlave ou Ophicleide Alto’. Larigot, 53, 22–5.Google Scholar
Vereecke, H. and Carter, S. (2014) ‘Mouthpieces for brasswinds in the writings of Victor-Charles Mahillon: A historical and analytical review’. HBSJ, 26, 4361.Google Scholar
Vessella, A. (1897) Studi d’istrumentazione per banda. Milano: Ricordi.Google Scholar
Viney, V. and Passevant, A. (1893) Méthode de Trompe de Mail-Coach. Paris: Legoupy.Google Scholar
Virdung, S. (1511) Musica getutscht. Basel: Michael Furter. Eng. trans. and ed. Beth Bullard (1993). Cambridge: Cambridge University Press.Google Scholar
Virgiliano, A. (c.1590–1600) Il dolcimelo. Manuscript, trans. Dickey, Bologna, Forni, 2002.Google Scholar
Vobaron, F. (1834) Grand Méthode de trombone. Paris: Gambaro.Google Scholar
Vollsnes, A. (Ed.) (1999–2001) Norges musikkhistorie. Oslo: Aschehoug.Google Scholar
von François, C. (1888) Die Erforschung des Tschuapa und Lulongo: Reisen in Centralafrika. Leipzig: F. A. Brockhaus.Google Scholar
von Steiger, A. (2013) ‘Die Blasinstrumentensammlung Burri’. Promotionsstudiums am Institut für Musikwissenschaft der Universität Bern.Google Scholar
von Steiger, A.(2016a) ‘Hirsbrunner: A Swiss family of wind instrument makers’. GSJ, 69, 181200.Google Scholar
von Steiger, A.(2016b) ‘Sax figures: Can we deduce details of Adolphe Sax’s instrument production from the sources’? Revue belge de musicologie, 70.Google Scholar
Vuolio, J. (1991) ‘Piirteitä soltilasmusiikista’. Musiikin suunta, 2(3), 120–39.Google Scholar
Wagner, L. J. (1998) Band Music from the Benjamin H. Grierson Collection. Madison, WI: A-R Editions.Google Scholar
Wallace, J. and McGrattan, A. (2011) The Trumpet. New Haven, CT, and London: Yale University Press.Google Scholar
Wang, G. (2007) Zhongguo yinyue shi (History of Chinese Music). Beijing: Tuanjie chubanshe.Google Scholar
Wang, Z. (2007) Eqao yinyuejia zai Zhongguo, 1920s-1940s (Russian Musicians in Shanghai, 1920s–1940s). Shanghai: Shanghai yinyue xueyuan chubanshe.Google Scholar
Waterhouse, W. R. (1993) The New Langwill Index. London: Tony Bingham.Google Scholar
Waterhouse, W. R.(2006) ‘Gautrot-Aîné, First of the Moderns’. Proceedings of the Historic Brass Society Conference, Cité de la Musique, Paris. Hillsdale, NY: Pendragon Press.Google Scholar
Waterhouse, W. R.(2010) Catalogue of the Collection of Historic Musical Instruments. Manchester: Royal Northern College of Music.Google Scholar
Waterman, C. A. (1990) Jújù: A Social History and Ethnography of an African Popular Music. Chicago: University of Chicago Press.Google Scholar
Watson, A. H. D. (2009) The Biology of Musical Performance and Performance-related Injury. Lanham, MD: Scarecrow Press.Google Scholar
Watson, J. (2010) Artifacts in Use. Richmond, VA: OHS Press.Google Scholar
Webb, J. (1985) ‘Designs for brass in the Public Record Office’. GSJ, 38, 4855.Google Scholar
Webb, J.(1988) ‘The Billingsgate Trumpet’. GSJ, 41, 5962.Google Scholar
Webb, J.(1996) ‘Mahillon’s Wagner tubas’. GSJ, 49, 207.Google Scholar
Webb, J.(1998) ‘The cornophone as Wagner tuba’. GSJ, 51, 193–5.Google Scholar
Wegman, R. C. (2002) ‘The minstrel school in the Late Middle Ages’. HBSJ, 14, 1130.Google Scholar
Weigel, C. (1698) Abbildung der gemein nützlichen Hauptstände. Regensburg.Google Scholar
Weiner, H. (1981) ‘The trombone: Changing times, changing slide positions’. BB, 36, 5263.Google Scholar
Weiner, H.(1993) ‘André Braun’s Gamme et Méthode pour les Trombones: The earliest modern trombone method rediscovered’. HBSJ, 5, 288308.Google Scholar
Weiner, H.(1999) ‘André Braun’s Gamme et Méthode Pour Les Trombonnes revisited’. HBSJ, 11, 93106.Google Scholar
Weiner, H.(2001) ‘The soprano trombone hoax’. HBSJ, 13, 138–60.Google Scholar
Weiner, H.(2002) ‘Beethoven’s Equali (WoO 30): A new perspective’. HBSJ, 14, 215–77.Google Scholar
Weiner, H.(2005) ‘When is an alto trombone an alto trombone? When is bass trombone a bass trombone? – The makeup of the trombone section in eighteenth- and early nineteenth-century orchestras’. HBSJ, 17, 3779.Google Scholar
Weiner, H.(2009) ‘Trombone slide lubrication and other practical information for brass players in Joseph Fröhlich’s Musikschule (1813)’. HBSJ, 21, 5168.Google Scholar
Weiner, H.(2011) ‘Aurelio Virgiliano’s Nuova intavolatura di tromboni’. HBSJ, 23, 151–60.Google Scholar
Weinmann, K. (1961) Johannes Tinctoris (1445–1511) und sein unbekannter Traktat ‘De inventione et usu musicae’. Tutzing: Schneider.Google Scholar
Weller, E. (2004) Der Blasinstrumentenbau im Vogtland von der Anfängen bis zum Beginn des 20. Jahrhunderts. Horb am Neckar: Geiger-Verlag.Google Scholar
Wessely, O. (1970) ‘Zur Geschichte des Equals’. Beethoven-Studien, 11, 339–60.Google Scholar
White, E. R. and Basmajian, J. V. (1973) Electromyography of lip muscles and their role in trumpet playing. Journal of Applied Physiology, 35(6), 892–7.Google Scholar
Whitehead, L. and Myers, A. (2004) ‘The Köhler family of brasswind instrument makers’. HBSJ, 16, 89123.Google Scholar
Whiteoak, J. (1994) ‘“Jazzing” and Australia’s first jazz band’. Popular Music, 13(3), 279–95.Google Scholar
Whiteoak, J.(2003) ‘“Pity the bandless towns”: Brass banding in Australian rural communities before World War Two’. Rural Society, 13(3), 287311.Google Scholar
Whitwell, D. (1977) ‘The principal band appearances in the French Revolution’. Zweite internationale Fachtagung zur Erforschung der Blasmusik. Uster: Schweiz.Google Scholar
Whitwell, D.(2015) Band Music of the French Revolution. Whitwell Books.Google Scholar
Wick, D. (1971) Trombone Technique. Oxford: Oxford University Press.Google Scholar
Wille, G. (1967) Musica Romana, Amsterdam: P. Schippers.Google Scholar
Wills, S. (1997) ‘Brass in the modern orchestra’. In Herbert, T. and Wallace, J. (Eds.), The Cambridge Companion to Brass Instruments, 157–76. Cambridge: Cambridge University Press.Google Scholar
Winch, C. (1743) The Compleat Tutor for the French Horn., London: John Simpson.Google Scholar
Winternitz, E. (1967/1979) Musical Instruments and their Symbolism in Western Art. New Haven, CT, and London: Yale University Press.Google Scholar
Woltjer, R. (2016) ‘Schott: A music publisher producing musical instruments’. JAMIS, 42, 87160.Google Scholar
Woodfield, I. (2000) Music of the Raj – A Social and Economic History of Music in Late Eighteenth-Century Anglo-Indian Society. Oxford: Oxford University Press.Google Scholar
Woodfill, W. L. (1953) Musicians in English Society from Elizabeth to Charles I. Princeton, NJ: Princeton University Press.Google Scholar
Woodley, R. (1985) ‘The printing and scope of Tinctoris’s Fragmentary Treatise: De inventione et vsv mvsice’. Early Music History, 5, 239–68.Google Scholar
Xu, C. (1998) Zhongguo xinyinyue shihua (History of Chinese New Music). Taipei: Yueyun chubanshe.Google Scholar
Xue, Z. (1983) Zhongguo yinyue shi yueqi pian (Chinese Music History – Instruments). Taipei: Shangwu yinshuguan.Google Scholar
Yégnan-Touré, A. G. (2013) Le Gbofé d’Afounkaha. Une forme d’expression musicale de Côte d’Ivoire. Paris: L’Harmattan.Google Scholar
Yu, S. (2005) Yue you ruci (Such are the Fading Sounds). Hong Kong: International Association of Theatre Critics.Google Scholar
Yun, L. et al. (Eds.) (1759) Qinding siku chuanshu: Wangchao liqi tu (Imperial Library Collection of Emperor Qianlong: Book of Imperial Ritual Ware, Musical Instruments II). n.p.Google Scholar
Zak, S. (1979) Music als ‘Ehr und Zier’ im mittelalterlichen Reich. Neuss: Verlag Dr. Päffgen.Google Scholar
Zemp, H. (2002–4) ‘An African brass band’. www.der.org/films/african-brass-band.html.Google Scholar
Zheng, R. (2002) Dunhuang bihua yuewu yanjiu (Study of Music and Dance in Dunhuang Murals). Lanzhou: Ganshu jiaoyu chubanshe.Google Scholar
Zimmermann, J. H. (1984; rept of 1899 edn) Musikinstrumente. Frankfurt am Main: Musikverlag Zimmermann.Google Scholar
Ziolkowski, J. (2002) ‘Bucina: A distinct musical instrument’? HBSJ, 14, 3158.Google Scholar
Žůrková, T. (2016) ‘Josef Šediva (1853–1915) and his collection of musical instruments at the National Museum – Czech Museum of Music in Prague’. GSJ, 69, 225–37Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×