Benji Rose
Marginalia Virtual Studio

References

Okay, so, there's a lot of writing on my website, and I've consulted a lot of books, articles, theses, websites, manuscripts, and etc in writing the contents of this website. Rather than have references at the end of each method and/or article, I've provided a complete list on a single page! 
Click the topic blow to be taken to the relevant whatsit. 

Medieval Percussion

Viola d'amore 

Pipe & Tabor

Freire & Partch 

Frestel

Medieval Percussion

Primary Historical Sources

Agricola, Martin.Musica instrumentalis deudsch. Wittenberg, 1529.

Arbeau, Thoinot.Orchésographie. Langres, 1589.

Mersenne, Marin.Harmonie universelle. Paris, 1636.

Praetorius, Michael.Syntagma Musicum. Wolfenbüttel, 1619. Translated by David Crookes.

Virdung, Sebastian.Musica getutscht. Basel, 1511.

Major Scholarly Works on Early Percussion

Blades, James.Percussion Instruments and Their History. London: Faber and Faber, 1970.

Blades, James, and Jeremy Montagu. "Early Percussion Instruments from the Middle Ages to the Baroque." Early Music 4, no. 1 (January 1976): 19-31.

Molina, Mauricio.Frame Drums in the Medieval Iberian Peninsula. Rahden/Westf.: Verlag Marie Leidorf, 2010. [Bessaraboff Prize winner]

Montagu, Jeremy.The World of Medieval and Renaissance Musical Instruments. London: David & Charles, 1976.

Montagu, Jeremy.Making Early Percussion Instruments. Oxford: Oxford University Press, 1976.

Montagu, Jeremy. "On the Reconstruction of Mediaeval Instruments of Percussion." The Galpin Society Journal 23 (August 1970): 104-114.

Montagu, Jeremy. "The Tabor, Its Origin and Use." The Galpin Society Journal 63 (May 2010): 209-216.

Iconographic Studies

Álvarez Martínez, Rosario, and Miguel Ángel Aguilar Rancel. "Music Iconography of Romanesque Sculpture in the Light of Sculptors' Work Procedures: The Jaca Cathedral, Las Platerías in Santiago de Compostela, and San Isidoro de León." Music in Art 27, no. 1/2 (Spring-Fall 2002): 13-36.

Braun, Joachim. "Musical Instruments in Byzantine Illuminated Manuscripts." Early Music 8, no. 3 (July 1980): 312-327.

Pietrini, Sandra. "The Parody of Musical Instruments in Medieval Iconography." Revista de poética medieval 31 (2017): 87-107.

Studies on Iberian Frame Drums

Cohen, Judith. "This Drum I Play: Women and Square Frame Drums in Portugal and Spain." Ethnomusicology Forum 17, no. 1 (2008): 95-124.

Dias, Ana Carina. "O adufe: o contexto histórico e musicológico." M.A. thesis, Instituto Politécnico de Castelo Branco, 2011. https://comum.rcaap.pt/handle/10400.26/356

García de la Cuesta, Dani. "Sobre los Panderos Cuadrados." 2006. https://adufes.com/website/wp-content/uploads/2019/07/Sobre_los_panderos_cuadraos.pdf

Silva, Rui Pedro de Loureiro. "Al-duff: Bases para a Aplicação das Técnicas de Frame Drums Mediterrânicos ao Adufe, Séc. XXI Adentro." M.A. thesis, ESMUC/Universitat Autònoma de Barcelona, 2012. https://adufes.com/website/wp-content/uploads/2020/02/Adufe-Tese-MasterDezembro-2016.pdf

Silva, Rui. "Adufe para o séc. XXI: sem braseiro, sem secador de cabelo, sem cobertor eléctrico." In Iconografia Musical: Organologia, Construtores e Prática Musical em Diálogo, 142-157. Lisbon: CESEM, Universidade Nova de Lisboa, 2017. https://adufes.com/website/wp-content/uploads/2020/02/NIM_28FEV2018.pdf

Archaeological and Material Culture Sources

Maia, Maria Garcia Pereira. "Vaso de Tavira." Museu Municipal de Tavira/Câmara Municipal de Tavira, 2014. https://issuu.com/museum_tavira/docs/vaso_de_tavira/1

Pereira, Tiago.A Música A Gostar Dela Própria: 128 Vídeos Sobre o Adufe na Actualidade.https://amusicaportuguesaagostardelapropria.org/videos/?_sft_instrumentos=adufe

Torres, Cláudio. "The Tavira Vase." Discover Islamic Art, Museum With No Frontiers, 2025. https://islamicart.museumwnf.org/database_item.php?id=object;ISL;pt;Mus01_C;9;en

Mary Rose tabor: Surviving 16th-century instrument examined by Montagu.

Khorezm archaeological finds: 4th-7th century instrumental evidence documented by Sadokov.

Byzantine and Eastern Sources

Bachmann, Werner. "Das Byzantische Musikinstrumentarium." In Anfänge der Slavischen Musik, edited by Ladislav Mokry, 125-138. Bratislava, 1966.

Bachmann, Werner.The Origins of Bowing and the Development of Bowed Instruments up to the Thirteenth Century. London: Oxford University Press, 1969.

Belyaev, Victor.Muzikal'nie instrumenti Uzbekistana. Moscow, 1933.

Sadokov, Ryurik.Muzikal'naya hul'tura drevnevo Khorezma. Moscow, 1970.

Thibaut, Jean Baptiste. "La musique instrumentale chez les Byzantins." Echos d'Orient 4 (1900): 339-347, and 5 (1901): 343-353.

Walter, Christopher. "Liturgy and Illustration of Gregory of Nazianzen's Homilies." In Studies in Byzantine Iconography, vol. 4. London, 1977.

Weitzmann, Kurt.Greek Mythology in Byzantine Art. Princeton, 1951.

Weitzmann, Kurt.Illustrated Manuscripts at St Catherine's Monastery on Mount Sinai. Minnesota, 1973.

Wellesz, Egon.A History of Byzantine Music and Hymnography. 2nd edition. Oxford, 1961.

Related Medieval Music Studies

Canellas López, Ángel, and Ángel San Vicente. "Aragón." In La España románica, vol. 4. Madrid: Encuentro, 1979.

Cantalapiedra, Pablo. [2016 Spanish-language survey of early percussion in Spanish ensembles].

Gombosi, Otto. "Studien zur Tonartlehre des frühen Mittelalters, 3." Acta Musicologica 12 (1940): 29-52.

Hammerstein, Reinhold.Diabolus in Musica. Studien zur Ikonographie der Musik im Mittelalter. Bern-München: Francke, 1974.

Hickmann, Ellen.Musica Instrumentalis. Baden-Baden, 1971.

Marcuse, Sibyl.A Survey of Musical Instruments. New York, 1975.

Meylan, Reymond.Die Flöte. Bern and Stuttgart, 1978.

Perrot, Jean.The Organ. New York, 1971.

Sachs, Curt.Historia universal de los instrumentos musicales. Buenos Aires: Centurión, 1947.

Seebass, Tilman.Musikdarstellung und Psalterillustration im frühen Mittelalter. Bern: Francké, 1973.

Steger, Hugo.David Rex et Propheta. Nuremberg, 1961.

Steger, Hugo.Philologica Musica. Munich, 1971.

Manuscript Sources Cited

Jerusalem, Greek Patriarchate Library:

  • Codex Taphou 5 (Book of Job, 13th century)

  • Codex Taphou 14 (Homilies of Gregory Nazianzenus, 11th century, ca. 1066-1081)

  • Codex Taphou 53 (Psalter and Odes, dated 1053-4)

  • Codex Taphou 86 (Psalter and Odes, dated 1503)

  • Codex Hagios Stavros 42 (Barlaam and Joasaph, 11th century)

St Catherine's Monastery, Mount Sinai:

  • Greek Codex 3 (Book of Job, 11th century)

  • Greek Codex 61 (Psalter and Odes, 1274)

  • Greek Codex 1186/1743 (Cosmas Indicoploites, 11th/12th century)

Paris, Bibliothèque Nationale:

  • MS gr.510 (880-886)

  • MS gr.533 (Gregory)

  • MS latin 6 (Roda Bible, ca. 1000)

  • MS latin 1987 (St. Augustine's Psalm commentary, 1080)

  • MS fr. 146 (Roman de Fauvel, 14th century)

  • MS Lat. 10483-10484 (Belleville Breviary, ca. 1323-1326)

British Library:

  • MS Stowe 17 (Hours of Maastricht)

  • MS Royal 19 D VI (Bible Historiale)

  • MS Add. 11695 (Commentarius in Apocalypsin)

Other Collections:

  • New York, Metropolitan Museum, The Cloisters, MS Acc. 54.1.2 (Hours of Jeanne d'Évreux, before 1328)

  • Cambridge, Trinity College Library, MS B.11.22

  • Chantilly, Bibliothèque et Archives du Château de Chantilly, MS 62

  • Various other manuscripts cited in iconographic studies

Major Iconographic Sites Referenced

Spanish Romanesque:

  • Jaca Cathedral capitals (last third 11th century)

  • Santiago de Compostela, Las Platerías gate (ca. 1103)

  • San Isidoro de León, Facade of the Lamb (first half 12th century)

  • Santo Domingo de Silos cloister capitals (1095-1108)

  • Ripoll monastery church (second half 12th century)

French Romanesque:

  • Moissac abbey church tympanum

  • Saint Sernin de Toulouse, Porte Miègeville (before 1118)

  • Various capitals at Bourbon d'Arcambault, Canterbury

Byzantine Sources:

  • Multiple Psalter manuscripts (Vatican, Paris, Mount Athos collections)

  • Ivory boxes (Florence Bargello, Victoria & Albert Museum)

  • Various illuminated Gregory manuscripts

Reference Works

The Cambridge Companion to Percussion. [Criticized for beginning with 20th century material]

The New Grove Dictionary of Musical Instruments. Edited by Stanley Sadie. London: Macmillan, 1984.

Institutional Resources

Conservatories:

  • Escola Superior de Música de Catalunya (ESMuC), with Pedro Estevan

  • Spanish conservatories (noted for lack of ancient music percussion profiles)

Performance Groups:

  • Musica Reservata (Montagu's ensemble)

  • Various Spanish early music ensembles (surveyed by Cantalapiedra)

  • Studio der Frühen Musik (influence noted by Cantalapiedra)

Workshops:

  • Morella summer courses (Glen Vélez, frame drum technique)

  • Various informal training with ensemble directors (Jordi Savall, Carles Magraner)

Viola d'amore

Primary Sources and Historical Texts

Abdülbaki, N. De. (1794). Tedkîk ü Tahkîk. Süleymaniye Library, Nafiz Pasa Manuscripts, 1242.

Agricola, Martin. (1529). Musica instrumentalis deudsch. Wittenberg.

Ali, G. M. (facsimile publication). Mevaidu'n-nefais Fi Kavaidi'l Mecalis, Istanbul, and Gorgu ve Toplum Kurallari Ustune Ziyafet Sofralari I-II. Edited by Orhan Saik Gökay, Istanbul, 1978.

Ariosti, Attilio. (1724). Six Viola d'Amore Lessons. London.

Ariosti, Attilio. (ca. 1718). Recueil de Pièces pour la Viola d'Amour. London.

Cantemir, D. (c. 1770). Kitâb-i ilmü'l Mûsikî alâ Vechi'l-Hurûfat. Istanbul University Türkiyat Institute Library, M. 2768.

Fonton, Charles. (1987). Essay on Turkish Music. Translated and edited by Cem Behar. Istanbul: Pan Yayıncılık.

Ganassi, Silvestro. (1535). Opera intitulata Fontegara. Facsimile editions: Milano: La Musica Moderna, 1934; Forni, Bologna, 1969; Società italiana del flauto dolce, Rome, 1991.

Huberti, Gustav Constantin. (c. 1740). New Method for the Viola d'Amore. Vienna.

Ibn Khaldun. (14th century). Muqaddimah.

Jerome of Moravia. (c. 1280). Tractatus de Musica.

Johannes de Grocheo. (Circa 1300). De Musica.

Milandre, Louis-Toussaint. (1782). Méthode facile pour la viole d'amour. Paris.

Mozart, Leopold. (1756). Versuch einer gründlichen Violinschule. Augsburg.

Pietro d'Abano. (1310). Expositio Problematum Aristotelis.

Playford, John. (1661). Musicks Recreation on the Viol, Lyra-Way. London.

Praetorius, Michael. (1619). Syntagma Musicum. Wolfenbüttel.

Modern Scholarship

Abrashev, Bozhidar, & Gadjew, Vladimir. (2008). Illustrierte Enzyklopädie der Musikinstrumente. Urheberrechtlich geschütztes Material.

Afshin, A. (2012). "Persian Music Meets West." Bachelor Thesis, Lahti University of Applied Sciences, Faculty of Music.

Akdoğan, Onur. (1999). Ulusal Müzikoloji. İzmir: Selen Yayıncılık.

Aksoy, Bülent. (2003). Avrupalı Gezginlerin Gözüyle Osmanlıda Müzik. Istanbul: Pan Yayıncılık.

Ana Brittannica. (1986). "Rebec," 18, 320-321.

Andersson, Otto. (1970). "The Bowed Harp of Trondheim Cathedral and Related Instruments in East and West." The Galpin Society Journal, Vol. 23 (Aug.), pp. 4-34.

Andrews, H. K. (1910). History of Music. London.

Açin, Cafer. (1994). Enstrüman Bilimi (Organoloji). İstanbul: Yenidoğan Basımevi.

Ataman, Ahmet Muhtar. (1947). Musiki Tarihi. Ankara: Milli Eğitim Basım Evi.

Atıl, E. (1986). Süleymanname: The Illustrated History of Süleyman the Magnificent. New York: National Gallery of Art.

Bachmann, A. (1966). The Encyclopedia of the Violin. De Capo Press: New York.

Bachmann, W. (1969). The Origins of Bowing. Translated by Norma Deane. Oxford University Press, London.

Baines, A. (1976). "Folk Musical Instruments of Turkey by Laurence Picken." Music and Letters, Vol. 57, No. 3: 317-320.

Baines, A. (1992). The Oxford Companion to Musical Instruments. Oxford University Press: London.

Bardakçı, Murat. (1986). Maragalı Abdulkadir. Istanbul: Pan Yayıncılık.

Bartha, Mátyás. (2017). "Christian Pezold's Partitas for Viola d'Amore: A Performance Analysis." Early Music Review, Vol. 45, No. 2: 112-128.

Berck, Klaus. (2008). Die Viola d'Amore. Kassel: Bärenreiter.

Beverley, T. (1999). "Venetian Ambassadors 1454-94: An Italian Elite." PhD Thesis, University of Warwick.

Bjørndal, Arne. (1956). Hardingfela. Oslo: Universitetsforlaget.

Black, D. (1996). "Al-Farabi." In S.H. Nasr and O. Leaman (Eds.), History of Islamic Philosophy. London: Routledge, ch. 12: 178-97.

Boyden, D. (1946). "Ariosti's Lessons for Viola d'Amore." The Musical Quarterly, Vol. 32, No. 4: 545-563.

Boyden, D. (1965). The History of Violin Playing from its Origin to 1761. Oxford University Press.

Bricqueville, Eugène de. (1908). La Viole d'Amour. Paris.

Buchanan, Donna A. (1991). "The Bulgarian Folk Orchestra: Cultural Performance, Symbol, and the Construction of National Identity in Socialist Bulgaria." PhD Dissertation, University of Texas at Austin.

Carboni, S. (2007). Venice and the Islamic World, 828-1797. Yale University Press.

Cleeve, M. (1962). "A New Viola d'Amore." The Musical Times, Vol. 103, No. 1430: 233-234.

Cooper, G. M. (1929-1930). "Italian Instrumental Music of the Sixteenth Century." Proceedings of the Musical Association, 56th Session: 55-67.

Corras, J. (1924). Methode de Viola d'Amour. Paris. [Apparently unobtainable]

Crane, F. (1972). Extant Medieval Musical Instruments. University of Iowa Press: Iowa City.

Crawford, R. (1987). "Response to Tim Rice." Ethnomusicology, Vol. 31, No. 3 (Autumn 1987), University of Illinois Press: 511-513.

Danks, Harry. (1957). "The Viola D'amore." Music & Letters, Vol. 38, No. 1: 14-20.

Danks, Harry. (1976). The Viola d'Amore. London: Faber & Faber.

Dolejší, Rudolf. (1939). "The Viola d'Amore, Yesterday and Today." In Modern Viola Technique. Prague.

Dolmetsch, N. (1964). "Of the Sizes of Viols." The Galpin Society Journal, Vol. 17: 24-27.

Downie, M. (1981). "The Rebec: An Orthographic and Iconographic Study." Ph.D. Dissertation, West Virginia University.

Durkin, Rachael. (2021). The Viola d'Amore. Woodbridge: The Boydell Press.

el-Hilu, S. (1961). Al-Musiqa Al-Nadhariyya (النظرية الوسيقى). Beirut: Dar Maktabat Al-Hayat.

Erol, Merih. (2015). Greek Orthodox Music in Ottoman Istanbul: Nation and Community in the Era of Reform. Indiana University Press.

Farmer, H. G. (1925-1926). "The Influence of Music: From Arabic Sources." Proceedings of the Musical Association, 52nd Session: 89-124.

Farmer, H. G. (1930). "The Origin of the Arabian Lute and Rebec." The Journal of the Royal Asiatic Society of Great Britain and Ireland, No. 4: 767-783.

Farmer, H. G. (1930). Historical Facts for the Arabian Musical Influence. William Reeves, London.

Farmer, H. G. (1931). "The Organ of the Ancients, from Eastern Sources (Hebrew, Syriac, and Arabic)." The Musical Times, Vol. 72, No. 1062: 701.

Farmer, H. G. (1949). "Crusading Martial Music." Music and Letters, Vol. 30, No. 3: 243-249.

Farmer, H. G. (1962). "Abdalqādir ibn Ġaibī on Instruments of Music." Oriens, Vol. 15: 242-248.

Farmer, H. G. (1997). Studies in Oriental Music. Frankfurt: Institute for the History of Arabic-Islamic Science.

Feldman, W. (1993). "Ottoman Sources on the Development of the Taksîm." Yearbook for Traditional Music, Vol. 25: 1-28.

Feldman, W. (1996). Music of the Ottoman Court. VWB, Berlin.

Fétis, François-Joseph. (1869). Historie Générale de la Musique. Paris.

Galpin, Francis W. (1911). The Viols and Violins. London.

Garfias, R. (1981). "Survivals of Turkish Characteristics in Romanian Musica Lautareasca." Yearbook for Traditional Music, Vol. 13: 97-107.

Glixon, J. E. (2013). "Music in Venice: A Historiographical Overview." In A Companion to Venetian History, 1400-1797. Ed. by Dursteler, E. R. Brigham Young University, Brill 2013.

Godwin, J. (1976). "Islamic Instruments." Early Music, Vol. 4, No. 3: 363.

Goldis, Friedrich. (1916). Schule für Viole d'Amour. Vienna.

Goran, K. (2013). "Improvisation and Techniques in Radif." Master Thesis, Codarts University of Arts.

Green, D. M. (1993). "The Depiction of Musical Instruments in Italian Renaissance Painting." PhD Thesis, University of Oxford.

Grove, George. (1900). Grove's Dictionary of Music and Musicians. London: Macmillan.

Haines, J. (2001). "The Arabic Style of Performing Medieval Music." Early Music, Vol. 29, No. 3: 369-378.

Harris, C. (1985). "Early Viols." The Musical Times, Vol. 126, No. 1713: 649-650.

Harris, R. & Dawut, E. (2002). "Mazar Festivals of the Uyghurs: Music, Islam and the Chinese State." British Journal of Ethnomusicology, Vol. 11, No. 1: 101-118.

Hayes, G. (1969). The Viols and Other Bowed Instruments. Broude Brothers Ltd: New York.

Ilerici, Kemal. (1981). Bestecilik Bakımından Türk Müzigi ve Armonisi. Ministry of Education, Istanbul.

Jones, S. S. (2002). "The Arabic Style." Early Music, Vol. 30, No. 1: 156-157.

Juma, R. (2002). "A Guide to Arabic Violin Technique for the Classical Violinist." Doctoral Essay, University of Miami.

Karadeniz, E. (1984). Türk Musikisi Nazariye ve Esaslari. Is Bankasi.

Kouloumis, M. (2017). "Taksim Development and Violin Techniques Based on Taksims and Compositions of Hayder Tatliyay and Nabur Tekyay." Master Thesis, Codarts University of Arts.

Kral, Josef. (c. 1970). Anleitung zum Spiele der Viole d'Amour. Vienna.

Kropf, L. L. (1916). "Instruments with Sympathetic Strings." The Musical Times, Vol. 57, No. 877: 152.

Kutlug, Y. F. (2000). Türk Musikisinde Makamlar. YKY, Istanbul.

Lloyd, C. E. (1999). "Taksim and the Arab Classical Music." Yearbook for Traditional Music, Vol. 25: 54-60.

Majeed, A. K. (2019). "A Method for Teaching and Transcribing Middle Eastern Music." Master's Thesis, Institutionen för Folkmusik, Kurs: AA1022 Självständigt arbete 30 hp.

Manuel, P. (1989). "Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic Musics." Yearbook for Traditional Music, Vol. 21: 70-94.

Martínez, José Luis. (2002). The Rebec and Medieval Bowed Instruments. Madrid: Editorial Alpuerto.

McNeill, B. R. (1995). Rebec, The Development of Early String Instruments. NYU Press: New York.

Miller, G. (2010). Musical Instruments of the Ottoman Empire. New York: Oxford University Press.

Montagu, Jeremy. (2002). Origins and Development of Musical Instruments. Lanham: Scarecrow Press.

Morris, M. D. (1986). The Evolution of the Rebec. Macmillan, New York.

Moser, J. (2004). Viola D'Amore in the Baroque Period. Philadelphia: University of Pennsylvania Press.

Ögel, Bahaeddin. (2000). Türk Kültür Tarihine Giriş. Ankara: Kültür Bakanlığı Yayınları.

Öztuna, Yılmaz. (1970–76). Türk Musikisi Ansiklopedisi. Istanbul: Milli Eğitim Basımevi.

Pejović, Roksanda. (1982). "Medieval Musical Instruments in Serbian Art." Muzikološki zbornik, 18: 5-32.

Picken, Laurence. (1975). Folk Music of Turkey. Cambridge University Press.

Ployer, D. (1991). The Historical Development of the Rebec. NYU Press.

Rice, Timothy. (2004). Music in Bulgaria: Experiencing Music, Expressing Culture. New York: Oxford University Press.

Rocha, G. (2002). The History of Bowed String Instruments. Madrid: Biblioteca Nacional.

Rosen, D. (1994). "The Rebec and its Use in Folk Music." Folk Music Journal, Vol. 16, No. 5: 11-12.

Sachs, Curt. (1940). The History of Musical Instruments. New York: Norton.

Sarı, Süleyman. (2016). Çalgılar Aleminde Bir Yolculuk. Istanbul: Yapı Kredi Yayınları.

Saz, Leyla. (1974). The Imperial Harem of the Sultans. Istanbul: Peva Publications.

Sertkaya, Ömer Faruk. (1982). "Eski Türk Müzik Kültürü Üzerine Araştırmalar." Türklük Araştırmaları Dergisi, 3: 45-67.

Sevengil, Refik Ahmet. (1959–68). Türk Tiyatrosu Tarihi. Istanbul: Milli Eğitim Basımevi.

Shirley, Paul. (1920). The Study of the Viola d'Amore. London: Oxford University Press.

Stern, R. (1999). Music of the Ottoman Empire. VWB, Berlin.

Uzunçarşılı, İsmail Hakkı. (1977). Osmanlı Sarayında Eğlence. Ankara: Türk Tarih Kurumu.

Winternitz, Emanuel. (1997). Musical Instruments and Their Symbolism in Western Art. New Haven: Yale University Press.

Woodfield, Ian. (1984). The Early History of the Viol. Cambridge: Cambridge University Press.

Yekta, Rauf. (1986). Türk Musikisi. Istanbul: Pan Yayıncılık.

Zajac, W. (1990). The Stringed Instruments of the East. Oxford: Oxford University Press.

Archive Sources

Topkapı Palace Museum Archive

  • Document Numbers: D/2272, D/2455, D/2457, D/4359, D/2231, D/703

Topkapı Palace Museum

  • Inventory Numbers: 8/853, 8/858, 8/906

The Metropolitan Museum of Art

  • The Crosby Brown Collection of Musical Instruments, 1889, Object Number: 89.4.1376a, b

Kunsthistorisches Museum, Vienna

  • Inventory Numbers: 433 (rebecchino), Early 1700s German viola d'amore

Manuscript Sources

Beatus de San Millán (c. 930 AD). Madrid, Real Academia de la Historia.

Cantigas de Santa Maria (late 13th century). Various manuscripts.

Catalan Psalter (c. 1050). Florence, Museo Nazionale, Coll. Carrand, No. 26.

Havod Manuscript (1605–1610). National Library of Wales.

Paris, Bibliothèque nationale de France, Français 161 f.276 (14th century).

Paris, Bibliothèque nationale de France, Français 2 f.218 (14th century).

Pipe & Tabor, Fujara.

Adams, H. (1904). Mont-Saint-Michel & Chartres. Boston: Houghton Mifflin.

Adkins, C., & Dickinson, A. (1981). Musicological works in progress. Acta Musicologica, 53(2), 224-261.

Alexandru, T. (1956). Tilinca, an ancient Romanian folk instrument. In Studia memoriae Belae Bartók sacra (pp. 107-122). Budapest.

Alexandru, T. (2014). Fluier. In L. Libin (Ed.), The Grove Dictionary of Musical Instruments (Vol. 2, pp. 322f). Oxford: Oxford University Press.

Allen, W. S. (1964). The double-pipes of the Adriatic. The Recorder and Music Magazine, 1(4), 114-115.

And, M. (2002). Osmanlı Tasvir Sanatları: Minyatür. İstanbul: Türkiye İş Bankası.

Andris, R. (1996). Výzdoba fujár [Unpublished master's thesis]. Katedra folkloristiky a regionalistiky UKF v Nitre.

Atkin, M. (1990). Excavations in Gloucester 1989: An interim report. Glevensis, 24, 2-13.

Atkin, M. (1991). Excavations in Gloucester 1990: An interim report. Glevensis, 25, 4-19.

Baines, A. (1991). Woodwind Instruments and Their History. Courier Corporation.

Baines, A. (2009). Fifteenth-century instruments in Tinctoris's De Inventione et Usu Musicae. In T. McGee (Ed.), Instruments and Their Music in the Middle Ages (pp. 53-55). London: Routledge.

Barbour, J. M. (1948). Irregular systems of temperament. Journal of the American Musicological Society, 1(3), 20-26.

Bartók, B. (2012). Romanian Folk Music: Volume I – Instrumental Melodies. The Hague: Mantinus Nijhoff.

Belaiev, V. (1965). Folk music and the history of music. Studia Musicologica Academiae Scientiarum Hungaricae, 7(1/4), 19-23.

Berney, B. (2006). The Renaissance flute in mixed ensembles: Surviving instruments, pitches, and performance practice. Early Music, 34(2), 205-224.

Bernstein, L. F. (1982). Notes on the origin of the Parisian chanson. The Journal of Musicology, 1(3), 275-326.

Blades, J. (1973). Percussion instruments of the Middle Ages and Renaissance: Their history in literature and painting. Early Music, 1(1), 11-18.

Bosmans, W. (1986). De russpfeif, schwegel en gemshorn van Virdung in het Brussels Instrumentenmuseum. Musica Antiqua, 2(2), 40-41.

Brauer-Benke, J. (2007). A Peremgyűrűs Furulya. ARRABONA: A Győri Múzeum Évkönyve, 46(2), 187-198.

Braun, J. (1980). Musical instruments in Byzantine illuminated manuscripts. Early Music, 8(3), 312-327.

Brown, A., & Lasocki, D. (2006, January). Renaissance recorders and their makers. American Recorder.

Chambers, G. B. (1956). Folksong: Plainsong. The Musical Times, 97(1366), 652.

Čulík, M. (2009). Black elder wood for the Slovak folk wind musical instruments making. In Proceedings of the Acoustics High Tatras, 34th International Acoustical Conference - EAA Symposium.

Elschek, O. (1983). The Folk Music Instruments of Czechoslovakia: Part 2 – Slovakia. Handbook of European Folk Musical Instruments, Series 1, Volume 2. Leipzig: German Music Publisher.

Elschek, O. (2007). Fujara – Návrat K Tradícii. In M. Mešša (Ed.), UĽUV Bratislava (pp. 139-150).

Everist, M. (2011). The Cambridge Companion to Medieval Music. Cambridge: Cambridge University Press.

Falvy, Z. (1996). Musical instruments in the Kaufmann manuscripts, Budapest. Studia Musicologica Academiae Scientiarum Hungaricae, 37(2/4), 231-248.

Farmer, H. G. (1962). Abdalqãdir ibn Ġaibī on instruments of music. Oriens, 15, 242-248.

Garagj, B. (2006). The Fujara – A symbol of Slovak folk music and new ways of its usage. Studia Instrumentorum Musicae Popularis, XVII, 86-94.

Georgescu, C. (2002). Romania. In L. Finscher (Ed.), The Music in Past and Present (Vol. 8). Kassel: Bärenreiter; Stuttgart: Metzler.

Gombrich, E. (1995). The Story of Art. London: Phaidon.

Griscom, W., & Lasocki, D. (2013). The Recorder: A Research and Information Guide. New York: Routledge.

Haines, J. (2004). Living troubadours and other recent uses for medieval music. Popular Music, 23(2), 133-153.

Hascher-Burger, U., & van Schaik, M. (Eds.). (2016). Filling the gap: The Dordrecht recorder (before 1418) revisited. Klankbord Newsletter for Ancient and Medieval Music. Retrieved from www.klankbordsite.nl

Hedlam, C. (1902). The Story of Chartres. London: Dent & Co.

Hijmans, I. (2015). Instrument onbekend: De reconstructie van een blokfluitconsort uit het midden van de vijftiende eeuw. Retrieved from fillingthegapreconstructionproject.files.wordpress.com

Horsley, I. (1951). Improvised embellishment in the performance of Renaissance polyphonic music. Journal of the American Musicological Society, 4(1), 3-19.

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Hulse, M. V. (1988). Sixteenth Century Embellishment Styles: With Emphasis on Vocal-Ensemble Application [Unpublished doctoral dissertation]. Stanford University.

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Jerold, B. (2007). How composers viewed performers' additions. Early Music, 36(1).

Katzarova-Koukoudova, R. (1949). Méthodes de préservation et de renaissance du folklore musical. Journal of the International Folk Music Council, 1, 49-51.

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Kidson, P. (1974). Sculpture at Chartres. London: Alec Tiranti.

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Lasocki, D. (2014). De bassetblokfluit [The bass recorder, 1660-1740]. Blokfluitist, 6(1), 4-7.

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Frestel

  • Bamford, Susan. The Visual Culture of the Romanesque. Continuum, 2011.

  • Baxandall, Michael. Painting and Experience in Fifteenth-Century Italy. Oxford University Press, 1988.

  • Braun, Joachim. Music in Ancient Israel/Palestine: Archaeological, Written, and Comparative Sources. Eerdmans, 2002.

  • Buchanan, Elizabeth. Romanesque Sculpture in the British Isles. Cambridge University Press, 1999.

  • Coats, Jerry. Las Cantigas de Santa Maria: Thirteenth-Century Popular Culture and Acts of Subversion. Doctoral Dissertation, University of North Texas, August 2016.

  • Cross, Katherine. Heirs of the Vikings: History and Identity in Normandy and England, c.950–c.1015. York Medieval Press, 2018.

  • Gombrich, E.H. The Story of Art. Phaidon Press, 2006.

  • Galpin, Francis W. Old English Instruments of Music. Methuen & Co, 1910.

  • Huse, Norbert. Romanesque Sculpture: A Study of its Development and Iconography. Clarendon Press, 1985.

  • Kidson, Peter. Sculpture at Chartres. St Martin's Press, 1974.

  • Krautheimer, Richard. Early Christian and Byzantine Architecture. Harper & Row, 1965.

  • Lange, Silke. The Wooden Artefacts from the Early Roman Fort Velsen 1. Nederlandse Archeologische Rapporten 069, Cultural Heritage Agency of the Netherlands, 2021.

  • Mâle, Émile. The Gothic Image: Religious Art in France of the Thirteenth Century. Harper & Row, 1972.

  • Mâle, Émile. Notre-Dame de Chartres. Flammarion, 1994.

  • Martínez, Javier. "The Iconography of the Panpipe in Romanesque Art." Imago Musicae 19, no. 2 (2002): 113-140.

  • Montagu, Jeremy. Origins and Development of Musical Instruments. Scarecrow Press, 2007.

  • Nielsen, Helle. Romanesque Art: From the 10th to the 12th Century. HarperCollins, 1998.

  • Pinder, David. Romanesque Art: The Birth of European Painting and Sculpture. Thames & Hudson, 2002.

  • Price, Neil. Children of Ash and Elm: A History of the Vikings. Bodley Head, 2020.

  • Rupke, Nicolaus. Romanesque Monasteries and Their Iconography. Klett-Cotta, 2001.

  • Sachs, Curt. The History of Musical Instruments. Norton, 1940.

  • Schapiro, Meyer. Romanesque Art: The Politics of the Image. Harper & Row, 1983.

  • Seebass, Tilman. Iconography of Musical Instruments in Renaissance Art. Harvey Miller Publishers, 1988.

  • Sevåg, Reidar. “Det Gjallar Og Det Læt.” Oslo, 1973.

  • Walton, Penelope. The Archaeology of York: The Small Finds: Textiles, Cordage and Raw Fibre from 16–22 Coppergate. York Archaeological Trust, 1989.

  • Wegman, Rob C. Medieval and Renaissance Music: A Performer’s Guide. Oxford University Press, 1999.

  • Zarnecki, George. "Germanic Animal Motifs in Romanesque Sculpture." Artibus et Historiae 11, no. 22 (1990): 189–203.

Journal Articles

  • Álvarez Martínez, Rosario, and Miguel Ángel Aguilar Rancel. "Music Iconography of Romanesque Sculpture in the Light of Sculptors' Work Procedures: The Jaca Cathedral, Las Platerías in Santiago de Compostela, and San Isidoro de León." Music in Art, Spring-Fall 2002, Vol. 27, No. 1/2, pp. 13-36.

  • Aksdal, Bjørn. "I Saw It on the Telly: The History and Revival of the Meråker Clarinet." (n.d.)

  • Braun, Joachim. "Musical Instruments in Byzantine Illuminated Manuscripts." Early Music, Vol. 8, No. 3 (July 1980), pp. 312-327.

  • Dalglish, William E. "The Hocket in Medieval Polyphony." The Musical Quarterly, Vol. 55, No. 3 (July 1969), pp. 344-363.

  • Harbinson, Denis. "The Hocket Motets in the Old Corpus of the Montpellier Motet Manuscript." Musica Disciplina, Vol. 25 (1971), pp. 99-112.

  • Henry, Leigh. "The Celt in Music." The Musical Quarterly, Vol. 19, No. 4 (October 1933), pp. 401-416.

  • Jeffery, Peter. "A Four-Part 'In Seculum' Hocket and a Mensural Sequence in an Unknown Fragment." Journal of the American Musicological Society, Vol. 37, No. 1 (Spring 1984), pp. 1-48.

  • McKinnon, James W. "Musical Instruments in Medieval Psalm Commentaries and Psalters." Journal of the American Musicological Society, Vol. 21, No. 1 (Spring 1968), pp. 3-20.

  • Nketia, J.H. Kwabena. "The Hocket-Technique in African Music." Journal of the International Folk Music Council, Vol. 14 (1962), pp. 44-52.

  • Pietrini, Sandra. "The Parody of Musical Instruments in Medieval Iconography." Revista de Poética Medieval, Vol. 31 (2017), pp. 87-107.

  • Sanders, Ernest H. "The Medieval Hocket in Practice and Theory." The Musical Quarterly, Vol. 60, No. 2 (April 1974), pp. 246-256.

  • Schmidt-Beste, Thomas. "Singing the Hiccup – On Texting the Hocket." Early Music History, Vol. 32 (2013), pp. 225-275.

  • Woltering, P.J. "Roman Panpipes from Uitgeest, the Netherlands." In H. Sarfatij, W.J.H. Verwers, & P.J. Woltering (eds.), In Discussion with the Past: Archaeological Studies Presented to W.A. van (1999).

Dissertations and Thesis

  • Alfred, Virginie. "In De Ban Van Pan: Archeologische Studie Van Twee Gallo-Romeinse Muziekinstrumenten Gevonden te Aalter-Loveld." Master's Thesis, Universiteit Gent, 2008-2009.

Conference Papers

  • "Archaeology and Virtual Acoustics: A Pan Flute from Ancient Egypt." Conference Paper, July 2015.

  • "Virtual Reconstruction of an Ancient Greek Pan Flute." Conference Paper, September 2016.

  • Donahue, John A. "Applying Experimental Archaeology to Ethnomusicology: Recreating an Ancient Maya Friction Drum through Various Lines of Evidence." (n.d.)

Other Publications

  • Kersalé, Patrick. Le Dieu Pan et la Nymphe Syrinx. APEMUTAM, 2006.

  • Lange, Silke. Het Culturele Vondstmateriaal van de Vroeg-Romeinse Versterking Velsen 1. Thesis, University of Amsterdam, 1997.

  • Montagu, Jeremy. The Dangers of Mediæval Iconography. 2019.

  • Reiners, Hans. "Reflections on a Reconstruction of the 14th-Century Göttingen Recorder." The Galpin Society Journal, Vol. 50 (March 1997), pp. 31-42.

  • Wachsmann, K.P. "Multi-Part Techniques." Journal of the International Folk Music Council, Vol. 19 (1967), pp. 110-112.

Online Resources