Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-jn8rn Total loading time: 0 Render date: 2024-12-28T01:38:47.929Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  03 April 2022

Stewart Pollens
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
A History of Stringed Keyboard Instruments , pp. 529 - 550
Publisher: Cambridge University Press
Print publication year: 2022

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

Aaron, Pietro. Toscanello in musica (Venice, 1523).Google Scholar
Acton, Harold. The Last Medici (London, 1980).Google Scholar
Adelson, Robert, Roudier, Alain, Nex, Jenny, Barthel, Laure, and Foussard, Michel, editors. The History of the Erard Piano and Harp in Letters and Documents 1785–1959, 2 vols. (Cambridge, 2015).Google Scholar
Adlung, Jakob. Anleitung zu der musikalischen Gelahrheit (Erfurt, 1758).Google Scholar
Adlung, Jakob. Musica mechanica organoedi, 2 vols. (Berlin, 1768).Google Scholar
Adorno, Theodor W. Prisms (Cambridge, MA, 1967)Google Scholar
Agricola, Martin. Musica instrumentalis deudsch (Wittenberg, 1528).Google Scholar
Ahrens, Christian. “New Sources on the Invention of the Janissary or Turkish Music Stop,” The Galpin Society Journal 59 (May 2006), pp. 241–242.Google Scholar
Ahrens, Christian and Klinke, Gregor, editors. Das deutsche Cembalo (Munich and Salzburg, 2000).Google Scholar
d’Alembert, Jean-Baptiste le Rond. Éléments de musique théorique, suivant les principes de M. Rameau (Paris, 1752).Google Scholar
Alves, William. “The Just Intonation System of Nicola Vicentino,” Journal of the Just Intonation Network 5/2 (1989), pp. 8–13.Google Scholar
Anderson, Emily, editor. The Letters of Beethoven (London, 1961).Google Scholar
Anderson, Emily, editor. The Letters of Mozart and His Family (New York and London, 1989).Google Scholar
Apel, Willi. The History of Keyboard Music to 1700 (Bloomington and London, 1972).Google Scholar
Apel, Willi, editor. Keyboard Music of the Fourteenth and Fifteenth Centuries (American Institute of Musicology, 1963).Google Scholar
Apel, Willi. The Notation of Polyphonic Music 900–1600 (Cambridge, MA, 1953).Google Scholar
Arnaut de Zwolle, Henri. Les Traités d’Henri-Arnaut de Zwolle et de divers anonymes, transcribed and translated into French by Le Cerf, G. and Labande, E.-R. (Paris, 1952).Google Scholar
Arnold, Denis and Fortune, Nigel, The Beethoven Reader (New York, 1971).Google Scholar
Attaingnant, Pierre. Les Maître musiciens de la renaissance français, edited by Expert, Henry (Paris, 1900).Google Scholar
Avins, Styra. Johannes Brahms, Life and Letters (Oxford, 1997).Google Scholar
Babb, Warren. Hucbald, Guido, and John on Music: Three Medieval Treatises (New Haven, 1978).Google Scholar
Bach, Carl Philipp Emanuel. The Catalog of Carl Philipp Emanuel Bach’s Estate, A Facsimile of the Edition of Schniebes, Hamburg, 1790, annotated with a preface by Wade, Rachel W. (New York, 1981).Google Scholar
Bach, Carl Philipp Emanuel. The Letters of C. P. E. Bach, translated and edited by Clark, Stephen L. (Oxford, 1997).Google Scholar
Bach, Carl Philipp Emanuel. Versuch über die wahre Art das Clavier zu spielen (Berlin, 1759 and 1762).Google Scholar
Bach, Carl Philipp Emanuel.Verzeichniß des musikalischen Nachlasses des verstorbenen Capellmeisters Carl Philipp Emanuel Bach (Hamburg, 1790).Google Scholar
Bach, Johann Sebastian. Bach-Dokumente (Leipzig and Kassel, 1963–1972).Google Scholar
Bach, Johann Sebastian. Fremdschriftliche und Gedrucktge Dokumente zur Lebensgeschichte Johann Sebastian Bach 1685–1750; Bach-Dokumente 2, edited by Neumann, Werner and Schulze, Hans-Joachim (Leipzig, 1969).Google Scholar
Badura-Skoda, Eva. The Eighteenth-Century Fortepiano Grand and Its Patrons (Bloomington, 2017).Google Scholar
Badura-Skoda, Eva. “Prolegomena to a History of the Viennese Fortepiano,” Israel Studies in Musicology 2 (1980), pp. 77–99.Google Scholar
Badura-Skoda, Eva and Badura-Skoda, Paul, Interpreting Mozart: The Performance of His Piano Pieces and Other Compositions (New York, 2008).Google Scholar
Badura-Skoda, Paul. “Mozart without the Pedal?,” The Galpin Society Journal 55 (April 2002), pp. 332–350.CrossRefGoogle Scholar
Banchieri, Adriano. Conclusioni nel suono dell’organo (Bologna, 1609).Google Scholar
Banowitz, Joseph. The Pianist’s Guide to Pedaling (Bloomington, 1985).Google Scholar
Barbieri, Patrizio. “Cembalaro, organaro, chittararo e fabbricatore di corde armoniche nella Polyanthea technica di Pinaroli (1718–32),” Ricercare 1 (1989), pp. 123–210.Google Scholar
Barbieri, Patrizio. Pietro della Valle: The Esthèr Oratorio (1639) and Other Experiments in the ‘Stylus Metabolicus.’ With New Documents on Triharmonic Instruments,” Ricercare 19/1–2 (2007), pp. 73–124.Google Scholar
Barbour, J. Murray. “Bach and the Art of Temperament,” Musical Quarterly 43, (1947), pp. 64–89.Google Scholar
Barbour, J. Murray. Tuning and Temperament: A Historical Survey (East Lansing, 1951).Google Scholar
Barnes, John. “Bach’s Keyboard Temperament, Internal Evidence from the Well-Tempered Clavier,” Early Music 7/2 (April 1979), pp. 236–249.Google Scholar
Barnes, John. “Pitch Variations in Italian Keyboard Instruments,” Galpin Society Journal 18 (March 1965), pp. 110–116.CrossRefGoogle Scholar
Barnes, John. “The Stringing of Italian Harpsichords,” in Der Klangliche Aspekt beim Restaurieren von Saitenklavieren, edited by Schwarz, Vera (Graz, 1973), pp. 35–39.Google Scholar
Barry, W. Henry. “Arnaut de Zwolle’s Clavichord and the Origin of the Chekker,” Journal of the American Musical Instrument Society 11 (1985), pp. 5–13.Google Scholar
Battault, Jean-Claude. “La manufacture Ignace Pleyel & Cie entre 1830–1850,” in Chopin et son temps, edited by Hug, Vanja and Steiner, Thomas (Bern, 2016), pp. 243–247.Google Scholar
Bavington, Peter. “Fretted Clavichords: A Response to Menno van Delft,” British Clavichord Society Newsletter (2016).Google Scholar
Bédos de Celles, Dom François. L’Art du facteur d’orgues (Paris, 1766–1778).Google Scholar
Beebe, Carey. “Technical Library; Temperaments xvi: D’Alembert/Rousseau,” www.hpschd.nu.Google Scholar
Beethoven, Ludwig van. Beethoven’s Letters, edited by Kalischer, A. C. (New York, 1972).Google Scholar
Bemetzrieder, Anton. Leçons de clavecin, et Principes d’harmonie (Paris, 1771).Google Scholar
Bendeler, Johann Philipp. Organopoeia (Frankfurt and Leipzig, ca. 1690).Google Scholar
Bendeler, Johann Philipp. Organopeoia (Leipzig, 1739).Google Scholar
Bent, Margaret. Magister Jacobus de Ispania, Author of the Speculum Musicae (Abingdon, 2015).Google Scholar
Berdux, Silke and Wittmayer, Susanne, “Biographische Notizen zu Anton Walter (1752–1826) in Der Hammerflügel von Anton Walter aus dem Besitz von Wolfgang Amadeus Mozart; Befund, Documentation, Analyse, edited by Angermüller, Rudolph and Huber, Alfons (Salzburg, 2000).Google Scholar
Berger, Karol. Musica Ficta (Cambridge, 1987).Google Scholar
Berger, Karol. Theories of Chromatic and Enharmonic Music in Late 16th Century Italy (Ann Arbor, 1980).Google Scholar
Bergquist, Ed Peter Jr. “The Theoretical Writing of Pietro Aaron” (PhD dissertation, Columbia University, 1964).Google Scholar
Bermúdez, Egberto. La música en el arte colonial de Columbia (Bogotá, 1994).Google Scholar
Bermudo, Juan. Declaración de instrumentos musicales (Ossuna, 1555).Google Scholar
Bermudo, Juan. El arte Tripharia (Ossuna, 1550).Google Scholar
Berry, Elizabeth Irene. “Arnolt Schlick’s Spiegel der Orgelmacher und Organisten: A Translation and Consideration of Its Relationship to the Organ in the Sixteenth Century” (Master’s thesis, University of Oregon, 1968).Google Scholar
Beurmann, Andreas E. “Iberian discoveries: Six Spanish 17th-Century Harpsichords,” Early Music (1999), pp. 183–208.Google Scholar
Bitter, Carl Hermann. Carl Philipp Emanuel und Wilhelm Friedemann Bach und deren Brüder, Vol. 1 (Berlin, 1868).Google Scholar
Blanchet, A. F. N.. Méthode abrégée pour accorder le clavecin et le forte-piano (Paris, n.d.).Google Scholar
Blanchini, Francisci. De tribus generibus instrumentorum (Rome, 1742).Google Scholar
Blankenburg, Quirinus van. Elementa musica (The Hague, 1739).Google Scholar
Bleyer, Jacob F. “Historische Beschreibung der aufrechtstehenden Forte-Pianos, von der Erfindung Wachtl und Bleyers in Wien,” Intelligenz-Blatt zur allgemeinen musikalischen Zeitung 17 (1811), pp. 73–77.Google Scholar
Boalch, Donald H. Makers of the Harpsichord and Clavichord 1440–1840, edited by Mould, Charles (Oxford, 1995).Google Scholar
Bonetti, B. Brunelli. “Bartolomeo Cristofori e il mondo musicale padovano,” in Bartolomeo Cristofori, inventore del pianoforte (Padua, 1955).Google Scholar
Booth, Alan, transcriber. Buxheimer Orgelbuch (New York, 1959).Google Scholar
Borren, Charles van den. The Sources of Keyboard Music in England (London, 1913).Google Scholar
Bosanquet, Robert Holford Macdowall. An Elementary Treatise on Musical Intervals and Temperament (London, 1876).Google Scholar
Bottregari, Ercole. Il desiderio (Venice, 1594).Google Scholar
Bowles, Edmund A. “A Checklist of Fifteenth-Century Representations of Stringed Keyboard Instruments,” in Keyboard Instruments: Studies in Keyboard Organology 1500–1800, edited by Ripin, Edwin M. (Edinburgh, 1971), pp. 11–16.Google Scholar
Bozarth, George S. and Brady, Stephen, “Johannes Brahms and His Pianos” Piano Technicians Journal 42 (2000), pp. 42–55.Google Scholar
Brancour, René. Histoire des instruments de musique (Paris, 1921).Google Scholar
Brandenburg, Sieghard, editor. Ludwig van Beethoven, Briefwechsel (Munich, 1998).Google Scholar
Brauchli, Bernard. The Clavichord (Cambridge, 1998).Google Scholar
Brauchli, Bernard. “A Seventeenth-Century Portuguese Clavichord: Study and Restoration,” in Livro de Homenagem a Macario Santiago Kastner, edited by Cidrais, Maria Fernanda, Morais, Manuel, and Nery, Rui Vieira (Lisbon, 1992), p. 69–97.Google Scholar
Brauneis, Walther. “… eines der besten Forte Piano von Herrn Wallter, mit einem Pedal von dem sel. Herrn Mozart,” in Der Hammerflügel von Anton Walter aus dem Besitz von Wolfgang Amadeus Mozart; Befund – Documentation – Analyse, edited by Angermüller, Rudolph and Huber, Alfons (Salzburg, 2000), pp. 200–208.Google Scholar
Breuning, Gerhard von. Memories of Beethoven, edited by Solomon, Maynard (Cambridge, 1992).Google Scholar
Brink, Paul Robert. “The Archicembalo of Nicola Vicentino” (PhD dissertation, Ohio State University, 1966).Google Scholar
Brossard, Sebastien de. Dictionary of Music; Dictionnaire de Musique, Paris, 1703, translated by Albion Gruber (Henryville, 1982).Google Scholar
Brown, Clifford M. and Lorenzoni, Anna Maria, Isabella d’Este and Lorenzo da Pavia: Documents for the History of Art and Culture in Renaissance Mantua (Geneva, 1982).Google Scholar
Bruni, Antonio Bartolomeo. Un inventaire sous La Terreur, edited by Gallay, J. (Paris, 1890).Google Scholar
Buchner, Hans. Fundamentbuch (1555).Google Scholar
Buehler-McWilliams, Kathryn. “The Monochord in the Medieval and Modern Classrooms,” Journal of Music History Pedagogy 3/2 (2013), pp. 162–164.Google Scholar
Burney, Charles. A General History of Music, 2 vols. (London, 1789; New York, 1957).Google Scholar
Burney, Charles. Memoirs of Doctor Burney, edited by Burney d’Arblay, Frances, 3 vols. (London, 1832).Google Scholar
Burney, Charles. The Memoirs of Dr. Charles Burney, edited by Klima, S. (Lincoln, NE, 1988).Google Scholar
Burney, Charles. The Present State of Music in France and Italy (London, 1771).Google Scholar
Burney, Charles. The Present State of Music in Germany, the Netherlands, and United Provinces, 2 vols. (London, 1775).Google Scholar
Burrows, Donald. “Handel and the pianoforte,” in Göttinger Händel-Beiträge, edited by Marx, Hans Joachim, Vol. 9 (2002), pp. 123–142.Google Scholar
Burrows, Donald and Dunhill, Rosemay. Music and Theatre in Handel’s World: The Family Papers of James Harris 1732–1780 (Oxford, 2002).Google Scholar
Byrd, William. My Ladye Nevells Booke of Virginal Music, edited by Andrews, Hilda, with an introduction by Blanche Winogron (New York, 1969).Google Scholar
Cabezón, Hernando de. “Preface,” in de Cabezón, Antonio, Obras de musica (1578).Google Scholar
Caldwell, John. English Keyboard Music before the Nineteenth Century (New York, 1973).Google Scholar
Caldwell, John. “The Pitch of Early Tudor Organ Music,’ Music and Letters 51 (1970), pp. 156–163.Google Scholar
Cappelletto, Sandro. La voce perduta: vita di Farinelli, evirato cantore (Turin, 1995).Google Scholar
Carapetyan, Armen, editor. An Early Fifteenth-Century Italian Source of Keyboard Music: The Codex Faenza, Biblioteca Comunale, 117: A Facsimile Edition. Musicological Studies and Documents 10. (American Institute of Musicology, 1961).Google Scholar
Casaglia, Ferdinando. Per le onoranze a Bartolommeo Cristofori che avranno luogo in Firenze il di 7 Maggio 1876 (Florence, 1876).Google Scholar
Cersne, Eberhard von. Der Minne Regel Regel, edited by Wöber, Franz Xaver (Vienna, 1861).Google Scholar
Cervelli, Luisa. “Noterelle Cristoforiane,” Quadrivium (1991), pp. 157–167.Google Scholar
Cervelli, Luisa and van der Meer, John Henry, Conservato a Roma il più Antico Clavicémbalo Tedesco (Rome, 1967).Google Scholar
Chandler, B. Glenn. “Rameau’s ‘Nouveau système de musique’: An Annotated Translation with Commentary” (PhD dissertation, University of Indiana, 1975).Google Scholar
Châteauneuf, François de Castagnères, l’abbé de. Dialogue sur la Musique des Anciens, Nouvelle édition (n.p., n.d.).Google Scholar
Chevallier, Clair and van Immerseel, Jos, editors. Matière et Musique; The Cluny Encounter (Cluny, 1999).Google Scholar
Chirico, Teresa. “New Information about Harpsichords and Harpsichord Makers Employed in Rome by Cardinal Pietro Ottoboni and His Father Antonio,” The Galpin Society Journal 62 (2009), pp. 101–115.Google Scholar
Chopin, Frédéric. Chopin’s Letters, collected by Henryk Opienski, translated by E. L. Voynich (New York, 1988).Google Scholar
Chopin, Frédéric. Selected Correspondence of Fryderyk Chopin, translated and edited by Hedley, Arthur (London, 1963).Google Scholar
Chopin, Frédéric and Sand, George, Lettres de Chopin et de George Sand (1836–1839), edited by Sydow, Ronislas-Edouard, Colfs-Chainaye, Denise, and Chainaye, Suzanne (Palma de Mallorca, n.d.).Google Scholar
Chouquet, Gustave. Le Musée du Conservatoire National de Musique, Catalog raisonné des instruments de cette collection (Paris, 1875).Google Scholar
Clark, J. B. Transposition in Seventeenth-Century English Organ Accompaniments and the Transposing Organ (Detroit, 1974).Google Scholar
Clinkscale, Martha Novak. Makers of the Piano 1700–1820 (Oxford, 1993).Google Scholar
Clinkscale, Martha Novak. Makers of the Piano 1820–1860 (Oxford, 1999).Google Scholar
Clutton, Cecil. “Arnault’s Manuscript,” The Galpin Society Journal 5 (March 1952), pp. 3–8.Google Scholar
Cohen, Albert. “Jean Marius’ Clavecin brisé and Clavecin à maillets Revisited: The ‘Dossier Marius’ at the Paris Academy of Sciences,” Journal of the American Musical Instrument Society 13 (1987), pp. 23–38.Google Scholar
Cohen, Albert. Music in the French Royal Academy of Sciences (Princeton, 1981).Google Scholar
Cole, Michael. “Adam Beyer, Pianoforte Maker,” The Galpin Society Journal 48 (March 1995), pp. 94–119.Google Scholar
Cole, Michael. Broadwood Square Pianos (Cheltenham, 2005).Google Scholar
Cole, Michael. “A Handel Harpsichord,” Early Music 21/1 (1993), pp. 99–109.Google Scholar
Cole, Michael. The Pianoforte in the Classical Era (Oxford, 1998).Google Scholar
Cole, Michael. ‘The Twelve Apostles? An Enquiry into the Origins of the English Pianoforte,” Early Keyboard Journal 18 (2000) pp. 9–53.Google Scholar
Cole, Warwick Henry. “Americus Backers: Original Forte Piano Maker,” The Harpsichord and Fortepiano Magazine 4 (October 1987), pp. 79–85.Google Scholar
Colonna, Fabio. La Sambuca Lincea: Overo dell’istromento musico perfetto, edited by Barbieri, Patrizio (Lucca, 1991).Google Scholar
Corrette, Michel. Le Maître de clavecin, pour l’accompagnement, méthode théorique et pratique (Paris, 1753).Google Scholar
Coulomb, Charles Augustin. “Recherches théoriques et expérimentales sur la force de torsion, et sur l’élasticité des fils de metal,” Mémoires de l’Académie Royale des Sciences (Paris, 1784), pp. 229–269.Google Scholar
Couperin, François. L’Art de toucher le clavecin (Paris, 1716).Google Scholar
Couperin, François. Pièces de clavecin, 4 vols. (Paris, 1713, 1717, 1722, 1730).Google Scholar
Creese, David. The Monochord in Ancient Greek Harmonic Science (Cambridge, 2010).Google Scholar
Crozier, Catherine Pearl. “The Principles of Keyboard Technique in Il Transilvano by Girolamo Diruta” (Master’s thesis, Eastman School of Music, 1941).Google Scholar
Curtis, Alan. “Dutch Harpsichord Makers,” Tijdschrift van de Vereniging voor Nederlands Musiekgeshiedenis 19/1–2 (1960–1961) pp. 44–46.Google Scholar
Curtis, Alan. “Introduction” to Jean Denis, Traité de l’accord de l’espinette (New York, 1969).Google Scholar
Curtis, Alan. Sweelinck’s Keyboard Music (Leiden and London, 1969).Google Scholar
Czerny, Karl. Complete Theoretical and Practical Pianoforte School, 3 vols. (London, 1839).Google Scholar
Czerny, Karl. “Erinnerungen as meinem Leben, 1842,” in Über den richtigen Vortrag der sämtlichen Beethoven’schen Klavierwerke, edited by Badura-Skoda, Paul (Vienna, 1963).Google Scholar
Dahl, Bjarne and Barnes, John, “Changes in English Grand Piano Actions between 1787 and 1792,” The Galpin Society Journal 50 (1997), pp. 208–211.Google Scholar
Dale, William. Tschudi the Harpsichord Maker (London, 1913).Google Scholar
Dart, Thurston. “Reviser’s Note for Book iv of the Tercentenary Edition” in François Couperin, Pièces de Clavecin iv (Monaco, 1968).Google Scholar
David, Hans Theodore and Mendel, Arthur, editors. The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, revised and expanded by Christoph Wolff (New York and London, 1998).Google Scholar
Denis, Jean. Traité de l’accord de l’espinette, avec la comparaison de son clavier à la musique vocale (Paris, 1650).Google Scholar
Denis, Jean. Treatise on Harpsichord Tuning, translated and edited by Panetta, Vincent J. (Cambridge, 1987).Google Scholar
Deutsch, Otto Erich. Handel: A Documentary Biography (London, 1955).Google Scholar
Deutsch, Otto Erich. Mozart: A Documentary Biography (Stanford, 1965).Google Scholar
Deutsch, Otto Erich. Schubert: Memoirs by His Friends, translated by Rosamond Ley and John Nowell (London, 1958).Google Scholar
Deutsch, Otto Erich. The Schubert Reader: A Life of Franz Schubert in Letters and Documents (New York, 1947).Google Scholar
Diderot, Denis and d’Alembert, Jean-Baptiste le Rond, editors. Arts et métiers méchaniques, vol. iv, Instruments de musique et lutherie (art du faiseur d’) (Paris, 1785).Google Scholar
Diderot, Denis and d’Alembert, Jean-Baptiste le Rond, editors. Encyclopédie ou Dictionnaire raisonné des sciences, des arts, et des métiers (Geneva, 1777).Google Scholar
Dirksen, Peter. “The Virginalists,” in The Cambridge Companion to the Harpsichord, edited by Kroll, Mark (Cambridge, 2019), pp. 31–46.Google Scholar
Diruta, Girolamo. Il Transilvano (Venice; 1593, 1609).Google Scholar
Doderer, Gerhard Clavicórdios Portugueses do século dezoito (Lisbon, 1971).Google Scholar
Dolge, Alfred. Pianos and Their Makers (Covina, 1911).Google Scholar
Dolmetsch, Arnold. The Interpretation of the Music of the xvii and xviii Centuries (London and Oxford, 1946).Google Scholar
Dolmetsch, Mabel. Personal Recollections of Arnold Dolmetsch (New York, 1958).Google Scholar
Doni, Giovanni Battista. Annotazioni sopra il Comendio de’ Generi, e de’ Modi della Musica (Rome, 1640).Google Scholar
Douwes, Claes. Grondig Ondersoek van de Toonen der Musijk (Franeker,1699).Google Scholar
Dowd, William. “The Surviving Instruments of the Blanchet Workshop,” in The Historical Harpsichord i, edited by Schott, Howard (Stuyvesant, 1984), pp. 17–107.Google Scholar
Dunhill, Rosemary. Handel and the Harris Circle (Winchester, 1995).Google Scholar
Durante, Elio and Martellotti, Anna, Cronistoria del concerto delle dame principalissime de Margherita Gonzaga d’Este (Florence, 1979).Google Scholar
Dürr, Alfred. “Tastenumfang und Chronologie in Bachs Klavierwerken,” in Festschrift Georg von Dadelsen zum 60. Geburtstag, edited by Kohlhase, Thomas and Scherliess, Volker (Neuhausen-Stuttgart, 1978).Google Scholar
Eigeldinger, Jean-Jacques. Chopin et Pleyel (Fayard, 2010).Google Scholar
Eitner, Robert. Das Buxheimer Orgelbuch (1888).Google Scholar
Ellis, Alexander J. “On the History of Musical Pitch,” Journal of the Society of Arts 28 (1880), pp. 293–336, 400–403; 29 (1881), pp. 109–112.Google Scholar
Ellis, Alexander J. and Mendel, Arthur, Studies in the History of Musical Pitch (Amsterdam, 1968).Google Scholar
Ellis, Katherine. Music Criticism in Nineteenth-Century France (Cambridge, 1995).Google Scholar
Elste, Martin. “Nostalgische Musikmaschinen,” in Kielklaviere; Cembali, Spinette, Virginale, edited by Henry van der Meer, John, Elste, Martin, and Wagner, Günther (Berlin, 1991), pp. 239–277.Google Scholar
Engel, Carl. “Introduction,” Catalogue of the Special Exhibition of Ancient Musical Instruments mdccclxxii (London, 1873), pp. v–xi.Google Scholar
Epenhuysen, Maria Rose-van, “Beethoven and His ‘French Piano’: Proof of Purchase,” Musique, images, instruments: Écoles et traditions regionals, 2e partie (Paris, 2005), pp. 111–122.Google Scholar
Ernst, Friedrich. Der Flügel Johann Sebastian Bachs: Ein Beitrag zur Geschichte des Instrumentenbaues im 18. Jahrhundert (Frankfurt am Main, 1955).Google Scholar
Fabbri, Mario. Alessandro Scarlatti e il Principe Ferdinando de’ Medici (Florence, 1961).Google Scholar
Farmer, Henry George. “The Canon and Eschaquiel of the Arabs,” Journal of the Royal Asiatic Society (April 1926), pp. 239–256.Google Scholar
Feder, Georg. “Work List,” The New Grove Haydn (New York, 1983), pp. 183–187.Google Scholar
Ferrari, Pierluigi. “Ancora sulla collezione Medicea di strumenti musicali: Gli inventari inediti del 1670 e 1690,” in Studi in onore di Giulio Cattin, edited by Luisi, Francesco (Rome, 1990), pp. 227–265.Google Scholar
Fétis, François-Joseph. “Concerts historiques de la musique de piano, donnés a Londres par M. Moscheles, dans la salle de Hanovre-Square,” Revue et Gazette Musicale de Paris 5/6 (Paris, February 11, 1838,), pp. 62–64.Google Scholar
Flade, Ernst. Der Orgelbauer Gottfried Silbermann (Leipzig, 1952).Google Scholar
Flade, Ernst and Silbermann, Gottfried, Ein Beitrag zur Geschichte des deutschen Orgel- und Klavierbaus im Zeitalter Bachs (Leipzig, 1952).Google Scholar
Flood, William Henry Grattan. “The Eschequier Virginal,” Music and Letters 6 (April 1925), pp. 151–153.Google Scholar
Fontana, Ezter. “Mozarts ‘Reiseclavier,’” in Die Klangwelt Mozarts, edited by Stradner, Gerhard (Vienna, 1991), pp. 73–78.Google Scholar
Forkel, Johann Nikolaus. Johann Sebastian Bach, His Life, Art, and Work, translated with notes and appendices by Charles Sanford Terry (New York, 1920).Google Scholar
Forkel, Johann Nikolaus. Musikalisch-Kritische Bibliothek (Gotha, 1778).Google Scholar
Forkel, Johann Nikolaus. Über Johann Sebastian Bachs Leben, Kunst und Kunstwerk (Leipzig, 1802).Google Scholar
French, Anne, Palmer, Frances, and Wraight, Michael. John Joseph Merlin, The Ingenious Mechanick (Kenwood, 1985).Google Scholar
Fuchs, Christian. “Das älteste deutsche Cembalo von Hans Müller, Leipzig 1537,” in Das deutsche Cembalo, edited by Ahrens, Christian and Klinke, Gregor (Munich and Salzburg, 2000), pp. 112–116.Google Scholar
Fuller Maitland, J. A. A Door-Keeper of Music (London, 1929).Google Scholar
Fuller Maitland, J. A. and Squire, W. Barclay, editors, The Fitzwilliam Virginal Book, Vol. 1 (New York, 1963).Google Scholar
Gábry, Gy. “Das Reiseklavichord W. A. Mozart,” Studia Musicologica Academiæ Scientarium Hungaricæ 10(1/2) (1968), pp. 153–162.Google Scholar
Gafurius, Franchinus. De harmonia musicorum instrumentorum (1518).Google Scholar
Gafurius, Franchinus. Practica musica (Milan, 1496).Google Scholar
Gai, Vinicio. Gli strumenti musicali della corte Medicea e il Museo del Conservatorio “Luigi Cherubini” di Firenze (Florence, 1969).Google Scholar
Galilei, Vincenzo. Dialogo della Musica Antica e Moderna (Florence, 1581).Google Scholar
Gall, Joseph. Clavier-Stimmbuch oder deutliche Anweisung wie jeder Musikfreund sein Clavier-Flügel, Fortepiano und Flügel-Fortepiano selbst stimmen, reparieren, und bestmöglichst gut erhalten könne (Vienna, 1805).Google Scholar
Garrett, Lee R. “The Contributions of Adriano Banchieri,” The Organ Yearbook 13 (1982), pp. 46–59.Google Scholar
Gerber, Ernst Ludwig. Historisch-biographisches Lexicon der Tonkünstler, 2 vols. (Leipzig, 1790–1792).Google Scholar
Gerber, Ernst Ludwig. Neues historisch-biographisches Lexicon der Tonkünstler, 4 vols. (Leipzig, 1810–1814).Google Scholar
German, Sheridan and Dowd, William R., “The Mietkes, the Margrave and Bach,” in Bach, Handel, Scarlatti Tercentenary Essays, edited by Williams, Peter (Cambridge, 1985).Google Scholar
Gerson, Jean Charlier de. Œuvres complètes, ed. Glorieux, Mgr., 10 vols. (Paris, 1961–1974).Google Scholar
Gibbs, Christopher H. The Cambridge Companion to Schubert (Cambridge, 1997).Google Scholar
Gibbs, Christopher H. The Life of Schubert (Cambridge, 2000).Google Scholar
Gilbert, Kenneth. “Preface,” in J.-H. D’Anglebert, Pièces de clavecin (Paris, 1975).Google Scholar
Gilbert, Kenneth. “Preface,” in Jean-Philippe Rameau, Pièces de clavecin (Paris, 1978).Google Scholar
Gilbert, Kenneth. “Preface,” in Jean-Philippe Rameau, Pieces de clavecin (Paris, 1999).Google Scholar
Giustini, Lodovico. Sonate da Cimbalo di piano e forte detto volgarmente di martelletti (Florence, 1732).Google Scholar
Goebl-Streicher, Uta, Streicher, Jutta, and Ladenburger, Michael, Beethoven und die Wiener Klavierbauer Nannette und Andreas Streicher (Bonn, 1999).Google Scholar
Goehr, Lydia. The Imaginary Museum of Musical Works (Oxford, 2007).Google Scholar
Good, Edwin M. Giraffes, Black Dragons and Other Pianos (Stanford, 2001).Google Scholar
Goodway, Martha and Odell, Jay Scott, “The Metallurgy of 17th- and 18th-Century Music Wire,” The Historical Harpsichord 2, edited by Schott, Howard (Stuyvesant, 1987).Google Scholar
Grangier, A. A Genius of France: A Short Sketch of the Famous Inventor, Sebastien Erard, and the Firm He Founded in Paris, 1780 (Paris, 1924).Google Scholar
Hafner, Katie. A Romance on Three Legs, Glenn Gould’s Obsessive Quest for the Perfect Piano (New York, 2008).Google Scholar
Haiden, H. Commentario de musicali instrument (Nuremberg, 1605).Google Scholar
Haiden, H. Musicale instrumentum reformatum (Nuremberg, 1610).Google Scholar
Hammond, Frederick. Girolamo Frescobaldi (Cambridge, MA, 1983).Google Scholar
Hammond, Frederick. “Musical Instruments in the Medici Court in the Mid-Seventeenth Century,” Analecta Musicologica 15 (1975), pp. 202–219.Google Scholar
Hanslick, Eduard. “Letters from Felix Mendelssohn-Bartholdy to Aloys Fuchs,” translated by Susan Gillespie, in Mendelssohn and His World, edited by Todd, R. Larry (Princeton, 1991).Google Scholar
Harding, Rosamund E. M. The Piano-Forte: Its History Traced to the Great Exhibition of 1851 (Cambridge, 1933; second revised edition, Woking, Surrey, 1978).Google Scholar
Hardouin, Pierre, J. “Quelques documents relatifs aux Couperins,” Review de musicologie 37 (December 1955), pp. 111–121.Google Scholar
Hardouin, Pierre J. and Hubbard, Frank, “Harpsichord Making in Paris: Part i, Eighteenth Century,” The Galpin Society Journal 10 (May 1957), pp. 10–29.Google Scholar
Hardy, Sophie. “Édition critique de la Prise d’Alexandrie de Guillaume de Machaut” (PhD dissertation, Université d’Orléans, 2011).Google Scholar
Haskell, Harry. The Early Music Revival, A History (London, 1988).Google Scholar
Hawkins, John. A General History of the Science and Practice of Music (London, 1776).Google Scholar
Haydn, Franz Joseph. The Collected Correspondence and London Notebooks of Joseph Haydn, edited by Robbins Landon, H. C. (London, 1959).Google Scholar
Haydn, Franz Joseph. Joseph Haydn: Gesammelte Briefe und Aufzeichnungen, edited by Bartha, Dénes (Kassel, 1965).Google Scholar
Haynes, Bruce. The End of Early Music (Oxford, 2007).Google Scholar
Haynes, Bruce. A History of Performing Pitch: The Story of “A” (Lanham and Oxford, 2002).Google Scholar
Hayward, Maria. The 1542 Inventory of Whitehall; The Palace and Its Keeper (London, 2004).Google Scholar
Heaton, Barrie. “A History of Sebastian Erard, Piano and Harp Maker.” UK Piano Page, www.piano-tuners.org/history/erard.html (2006).Google Scholar
Hellborn, Heinrich Kreissle von. The Life of Franz Schubert, edited and translated by Coleridge, Arthur D. (Cambridge, 2014).Google Scholar
Hellwig, Friedemann. “The Single-Strung Italian Harpsichord,” Keyboard Instruments: Studies in Keyboard Organology, 1500–1800 (Edinburgh, 1971).Google Scholar
Hellwig, Friedemann. “Strings and Stringing: Contemporary Documents,” The Galpin Society Journal 29 (May 1976), pp. 91–1014.Google Scholar
Helmholtz, Hermann. On the Sensations of Tone, translated and annotated by Alexander J. Ellis (New York, 1954).Google Scholar
Hen, F. J. De. “The Truchado Instrument: A Geigenwerk?” in Keyboard Instruments: Studies in Keyboard Organology, 1500–1800, edited by Ripin, Edwin M. (Edinburgh, 1971), pp. 19–28.Google Scholar
Henestrosa, Luis Venegas de. Libro de cifra nueva para tecla, arpa y vihuela (1557).Google Scholar
Henkel, Hubert. “Bach und das Hammerklavier,” in Beiträge zur Bachforschung 2, edited by Felix, Werner, Hoffmann, Winfried, and Schneiderheinze, Armin (Leipzig, 1983).Google Scholar
Henkel, Hubert. “Bartolomeo Cristofori as Harpsichord Maker,” in The Historical Harpsichord iii, edited by Schott, Howard (Stuyvesant, 1984), pp. 1–58.Google Scholar
Henkel, Hubert. Clavichorde (Leipzig, 1981).Google Scholar
Henkel, Hubert. “Der Cembalobau der Bachzeit im Sächsisch-Thüringischen und im Berliner Raum,” in Bericht über die Wissenschaftliche Konferenz zum 3 International Bach-Fest der DDR (Leipzig, 1977).Google Scholar
Henkel, Hubert. Kielinstrumente (Leipzig, 1979).Google Scholar
Henkel, Hubert. “Sechszehnfuss-Register im italienischen Cembalobau,” Das Musikinstrument 39 (1990), pp. 6–10.Google Scholar
Henry, Leigh. Dr. John Bull 1562–1628 (Tonbridge, 1946).Google Scholar
Hermert, Andreas. “Drei bundfreie Clavichorde aus dem 18. Jahrhundert im Kloster Marienthal/Ostritz,” in Fundament aller Clavirten Instrumenten: Das Clavichord (Munich and Salzburg, 2003), pp. 89–99.Google Scholar
Hertz, Eva. Johann Andreas Stein (1728–1792). Ein Beitrag zur Geschichte des Klavierbaues (Wolfenbüttel and Berlin, 1937).Google Scholar
Hiller, Johann Adam. Wöchentliche Nachrichten und Anmerkungen die Musik betreffend (Leipzig, 1769).Google Scholar
Hipkins, Alfred James. A Description and History of the Pianoforte and of the Older Keyboard Stringed Instruments (London and New York, 1896).Google Scholar
Hipkins, Alfred James. “The History of the Pianoforte,” Journal of the Society of Arts (March 9, 1883), pp. 397–408.Google Scholar
Hipkins, Alfred James. “The History of the Pianoforte,” Journal of the Society of Arts (September 21, 1883), pp. 949–950.Google Scholar
Hipkins, Alfred James. “Introduction to the Original Catalog, 1904,” An Illustrated Catalogue of the Music Loan Exhibition Held under the Patronage of His Majesty the King, Her Majesty the Queen and Their Royal Highnesses the Prince and Princess of Wales by the Worshipful Company of Musicians at Fishmongers’ Hall, June and July, 1904 (London, 1909), pp. xiv–xv.Google Scholar
Hirt, Franz Josef. Meisterwerke des Klavierbaus von 1440 bis 1880 (Olten, 1955).Google Scholar
Hirt, Franz Josef. Stringed Keyboard Instruments (Boston 1968).Google Scholar
Hoffmann, Sabine. “Das Berliner ‘Bach-Cembalo’ aus der Perspektive seiner Restaurierung und Nachbauten,” in Musique ancienne – instruments et imagination, Proceedings of the Harmoniques international conference, Lausanne, 2004, edited by Latcham, Michael (Bern, 2004), pp. 151–167.Google Scholar
Holmes, William C. Opera Observed: Views of a Florentine Impresario in the Early Eighteenth Century (Chicago, 1993).Google Scholar
Hopfner, Rudolf. Wiener Musikinstrumentenmacher 1766–1900 (Tutzing, 1999).Google Scholar
Howell, Standley. “Medical Astrologers and the Invention of Stringed Keyboard Instruments,” Journal of Musicological Research 10/1–2 (1990), pp. 1–17.Google Scholar
Howell, Standley. “Paulus Paulirinus of Prague on Musical Instruments,” Journal of the American Musical Instrument Society 5–6 (1979–1980), pp. 14–16.Google Scholar
Hubbard, Frank. Three Centuries of Harpsichord Making (Cambridge, MA, 1965).Google Scholar
Huber, Alfons. “Beethovens Erard-Flügel, Überlegungen zu siener Restaurierung,” Restauro 3 (1990), pp. 181–188.Google Scholar
Huber, Alfons. “Der Österreichische Klavierbau im 18. Jahrhundert,” in Die Klangwelt Mozarts, edited by Stradner, Gerhard (Vienna, 1991), pp. 47–72.Google Scholar
Huber, Alfons. “Hatte Mozarts Hammerflügel eine Stoßmechanik?” in Der Hammerflügel von Anton Walter aus dem Besitz von Wolfgang Amadeus Mozart; Befund – Documentation – Analyse (2000), pp. 187–199.Google Scholar
Huber, Alfons. “Mozart’s ‘Reiseclavier,’” in De Clavicordio 5 (Magnano, 2002), pp. 25–38.Google Scholar
Huber, Alfons. “Saitendrahtsysteme im Wiener Klavierbau zwischen 1780 u. 1880,” Salzburger Museum Carolino Augusteum Jahresschrift 34 (1988), pp. 193–222.Google Scholar
Huber, Alfons. “The ‘Rosetta-Stone’ and Other Measuring Gauges for Music Wire from Nineteenth-Century Vienna,” The Galpin Society Journal 67 (March 2014), pp. 59–65.Google Scholar
Huber, Alfons. “Was the ‘Viennese Action’ originally a Stossmechanik?’” The Galpin Society Journal 55 (April 2002), pp. 167–182.Google Scholar
Huber, Alfons and Hopfner, Rudolf, “Instrumentenkundlicher Befund des Mozart-Flügels,” in Der Hammerflügel von Anton Walter aus dem Besitz von Wolfgang Amadeus Mozart, edited by Angermüller, R. and Huber, A. (Salzburg, 2000), pp. 146–159.Google Scholar
Hunt, John N. “The Blanchets; Parisian Musical Instrument Makers of the Seventeenth and Eighteenth Centuries,” Early Keyboard Journal 18 (2000), pp. 53–93.Google Scholar
Huray, Peter le. Music and the Reformation in England 1549–1660 (Cambridge, 1978).Google Scholar
Huth, H. Lacquer of the West: The History of a Craft and an Industry, 1550–1950 (Chicago, 1971).Google Scholar
Huygens, Christiaan. “Lettre touchant le cycle harmonique,” in Histoire des ouvrages des sçavans (Rotterdam, 1691), pp. 78–88, www.huygens-fokker.org/docs/lettre.html.Google Scholar
Interbartolo, Graziano. Bach 1722, Il temperament di Dio. Le scoperte e i significati del “Wohltemperirte Clavier,” (Finale Ligure, 2006).Google Scholar
Jonckbloet, W. J. A. and Land, J. P. N., Musique et musiciens au xviie siècle, Correspondance et œuvre musicales de Constantin Huygens (Leyden, 1882).Google Scholar
Jones, David Wyn. Music in Eighteenth-Century Austria (Cambridge, 1996).Google Scholar
Judd, Robert. “Italy,” Keyboard Music before 1700, edited by Silbiger, Alexander (New York and London, 2004).Google Scholar
Kalkbrenner, Friedrich Wilhelm Michael. Méthode pour apprendre le Piano-forte, à l’aide du guide-mains (Paris, 1837).Google Scholar
Karmarsch, Karl. “Draht,” in Prechtl, Johann Joseph, Technologische Enzylkopädie oder Alphabetisches Handbuch der Technologie 4 (Stuttgart, 1833).Google Scholar
Kastner, Macario Santiago. “Portugiesische und Spanische Clavichorde des 18. Jahrhunderts,” Acta Musicologica 24/1–2 (1952), pp. 52–61.Google Scholar
Keeling, Geraldine. “The Liszt Pianos – Some Aspects of Preference and Technology,” The New Hungarian Quarterly 27/104 (1986), pp. 220–231.Google Scholar
Kellner, Herbert Anton. “Eine Rekonstruction der wohltemperierten Stimmung von Johann Sebastian Bach,” Das Musikinstrument 26 (1977), pp. 34–35.Google Scholar
Kellner, Herbert Anton. The Tuning of My Harpsichord (Frankfurt am Main, 1980).Google Scholar
Kelletat, Herbert. Zur Musikalischen Temperatur insbesondere bei Johann Sebastian Bach (Berlin, 1960).Google Scholar
Kelletat, Herbert. Zur Musikalischen Temperatur 2; Wiener Klassik (Berlin, 1982).Google Scholar
Kenyon, Max. A Mozart Letter Book (Westport, 1956).Google Scholar
Kenyon, Nicholas. Authenticity and Early Music (Oxford, 1988).Google Scholar
Kilström, Andreas. “A Signed Mietke Harpsichord,” FoMRHI Quarterly 64 (July 1991), pp. 59–62.Google Scholar
Kinsela, David. “A Taxonomy of Renaissance Keyboard Compass,” The Galpin Society Journal 54 (May 2001), pp. 352–396.Google Scholar
Kinsky, Georg. “Hans Haiden, der Erfinder der Nürnbergischen Geigenwerks,” Zeitschrift für Musikwissenschaft 6 (January–February, 1924), pp. 193–214.Google Scholar
Kinsky, Georg. “Kurze Oktaven auf besaiteten Tasteninstrumenten: Ein Beitrag zur Geschichte des Klaviers,” Zeitschrift für Musikwissenschaft 2 (1920), pp. 65–82.Google Scholar
Kinsky, Georg. Musikhistorisches Museum von Wilhelm Heyer in Cöln; Ester Band, Besaitete Tasteninstruments, Orgeln und orgelartige Instruments, Frictioninstrumente (Cologne, 1910).Google Scholar
Kinsky, Georg. “Zur Echtheitsfrage des Berliner Bach-Flügels,” Bach Jahrbuch 21 (1924), pp. 134–137.Google Scholar
Kircher, Athanasius. Musurgia universalis, 2 vols. (Rome, 1650).Google Scholar
Kirkpatrick, Ralph. Domenico Scarlatti (Princeton, 1953).Google Scholar
Kirkpatrick, Ralph. “Notes,” Scarlatti Sonatas, Odyssey, 32 26 0007 (1969).Google Scholar
Kirnberger, Johann Philipp. Die Kunst des reinen Satzes in der Musik (Berlin and Königsberg, 1774).Google Scholar
Klaus, Sabine K. “Square Pianos in German-Speaking Areas at the Time of Wolfgang Amadeus Mozart and Their Possible Uses in His Works,” in Essays in Honor of Christopher Hogwood, edited by Donahue, Thomas (Lanham, 2011), pp. 157–179.Google Scholar
Knize, Perri. Grand Obsession (New York and London, 2009).Google Scholar
Koch, Heinrich Christoph. Musikalisches Lexicon (Frankfurt am Main, 1802).Google Scholar
Komlós, Katalin. Fortepianos and Their Music, Germany, Austria, and England 1760–1800 (Oxford, 1995).Google Scholar
König, Johann Ulrich. “Musicalische Merckwürdigkeiten des Marchese, Scipio Maffei, Beschreiben eines neuerfundenen Claviceins, auf welchem das piano und forte zu haben, nebst einigen Betrachtungen über die Musicalische Instrumente, aus dem Welschen ins Teutsche übersetzt,” in Mattheson, Johann, Critica Musica 2 (Hamburg, 1725), pp. 335–342.Google Scholar
Koster, John. “Communication,” Journal of the American Musical Instrument Society 19 (1993), pp. 115–117.Google Scholar
Koster, John. “Early Flemish Harpsichord String Scaling,” Journal of the Acoustical Society of America 98 (1995), pp. 29–55.Google Scholar
Koster, John. “The Importance of the Early English Harpsichord,” The Galpin Society Journal 33 (March 1980), pp. 45–73.Google Scholar
Koster, John. The Keyboard Musical Instruments in the Museum of Fine Arts, Boston (Boston, 1994).Google Scholar
Koster, John. “The Mother and Child Virginal and Its Place in the Keyboard Instrument Culture of the Sixteenth and Seventeenth Centuries,” in Colloquium: Ruckers klavecimbels en copieën: universele instrumenten voor de interpretatie van de muziek uit Rubens tijd, edited by Lambrechts-Douillez, J. (Antwerp, 1977), pp. 78–96.Google Scholar
Koster, John. “Pitch and Transposition before the Ruckers,” in Kielinstrumente aus der Werkstatt Ruckers, edited by Rieche, Christiane (Halle, 2001), pp. 73–94.Google Scholar
Koster, John. “Toward a History of the Earliest Harpsichords,” in Das Osterreichische Cembalo, edited by Huber, Alfons (Tutzing, 2001), pp. 17–33.Google Scholar
Kottick, Edward L. A History of the Harpsichord (Bloomington, 2003).Google Scholar
Krehbiel, Henry Edward. The Pianoforte and Its Music (New York, 1911).Google Scholar
Kreidy, Ziad, editor. Clefs pour le piano (Château-Gontier, 2018).Google Scholar
Krickeberg, Dieter. “Das ‘Bach-Cembalo’ – Bestandteil einer thüringischen ‘Schule’ des Cembalobaus?,” in Das deutsche Cembalo, edited by Ahrens, Christian and Klinke, Gregor (Munich and Salzburg, 2000), pp. 117–122.Google Scholar
Krickeberg, Dieter. “Meine Herren, der alte Bach ist gekommen!” (Berlin, 1976).Google Scholar
Krickeberg, Dieter. “Michael Mietke – ein Cembalobauer aus dem Umkreis von Johann Sebastian Bach,” in Cöthener Bach, Hefte 3: Sonderheit zur Bach-Händel-Schütz-Ehrung der DDR (Cöthen, 1985), pp. 47–56.Google Scholar
Krickeberg, Dieter. Sophie Charlotte und die Musik in Leitzenberg (Berlin, 1987).Google Scholar
Krickeberg, Dieter and Rase, Horst, “Beiträge zur Kenntnis des mittel- und norddeutschen Cembalobaus um 1700,” in Studia organologica: Festschrift für John Henry van der Meer zu seinem fünfundsechzigsten Geburtstag, edited by Hellwig, Friedemann (Tutzing, 1987), pp. 285–310.Google Scholar
Kullak, Franz. Beethoven’s Piano-Playing, with an Essay on the Execution of the Trill, translated by Theodore Baker (New York, 1901),Google Scholar
Lafontaine, Henry Cart De. The King’s Music, A Transcript of Records Relating to Music and Musicians (London, 1909).Google Scholar
Landon, H. C. Robbins. Essays on the Viennese Classical Style (New York, 1970).Google Scholar
Landon, H. C. Robbins. Haydn: Chronicle and Works (Bloomington, 1977).Google Scholar
Landowska, Wanda. Landowska on Music (New York, 1965).Google Scholar
Lanfranco, Giovanni Maria. Scintille de musica (Brescia, 1533).Google Scholar
Lasocki, David and Prior, Roger, The Bassanos: Venetian Musicians and Instrument Makers in England, 1531–1665 (Cambridge, 1995).Google Scholar
Latcham, Michael. Pianos for Haydn, Mozart and Beethoven: Change and Contrast (Munich, 2016).Google Scholar
Latcham, Michael. “Authenticating and Dating the Pianos of Anton Walter,” in Restaurieren, Renovieren, Rekonstruieren: Methoden für Hammerklaviere, edited by Donhauser, Peter (Vienna, 1997).Google Scholar
Latcham, Michael. “Mozart and the Pianos of Johann Andreas Stein,” The Galpin Society Journal 51 (July 1998), pp. 114–153.Google Scholar
Latcham, Michael. The Notebooks of Johann David Schiedmayer and His Son Johann Lorenz (Wilhelmshaven, 2011).Google Scholar
Latcham, Michael. The Stringing, Scaling and Pitch of Hammerflügel Built in the Southern German and Viennese Traditions 1780–1820, 2 vols. (Munich and Salzburg, 2000).Google Scholar
Latcham, Michael. “Swirling from One Level of the Affects to Another: The Expressive ‘Clavier’ in Mozart’s Time,” Early Music 30 (2002), pp. 502–520.Google Scholar
Latcham, Michael. “The Twelve Clavicordios owned by Queen Maria Bárbara of Spain and the Seven Cembali owned by Carlo Broschi, known as Farinelli; Facts and Speculation,” in Five Centuries of Spanish Keyboard Music, Proceedings of the FIMTE Conferences 2002–2004, edited by Morales, Luisa (Almería, 2007), pp. 255–281.Google Scholar
Latcham, Michael. Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg 7 (Wilhelmshaven, 2016).Google Scholar
Ledbettter, David. Bach’s Well-Tempered Clavier, The 48 Preludes and Fugues (New Haven and London, 2002).Google Scholar
Ledbetter, David. Harpsichord and Lute Music in 17th-Century France (London, 1987).Google Scholar
Lehman, Bradley. “Bach’s Extraordinary Temperament: Our Rosetta Stone,” Early Music 33/1 (February 2005), pp. 3–23; 33/2 (May 2005), pp. 211–231.Google Scholar
Lemme, Karl. “Verzeichniss der verschiedenen Sorten von grossen Pianoforte’s, Pianoforte’s in Klavierform und Klavieren welche von mir dem Organisten und Instrumentenmacher Karl Lemme in Braunschweig, um beigesetzte Preise verfertiget warden,” in Anweisung und Regeln zu einer zweckmässigen Behandlung englisher und teutscher Pianoforte’s und Klaviere (Braunschweig, 1902).Google Scholar
Lesure, François. “La Facture instrumentale à Paris au seizième siècle,” The Galpin Society Journal 7 (April 1954), pp. 11–52.Google Scholar
Lindley, Mark. “Bach’s Temperament,” Early Music 40/1 (February 2012), p. 167.Google Scholar
Lindley, Mark. “Fifteenth-Century Evidence for Meantone Temperament,” Proceedings of the Royal Musical Association 102 (1975–1976), pp. 37–51.Google Scholar
Lindley, Mark. Lutes, Viols and Temperaments (Cambridge, 1984).Google Scholar
Link, John W. Jr. Theory and Tuning: Aron’s Meantone Temperament and Marpurg’s Temperament “i” (Boston, 1972).Google Scholar
Liszt, Franz. The Life of Chopin, translated by Martha Walker Cook (Boston, 2010).Google Scholar
Litzmann, , ed., Clara Schumann: Ein Künstlerleben nach Tagebüchern und Briefen (Leipzig, 1906).Google Scholar
Lockwood, Lewis. Music in Renaissance Ferrara 1400–1505 (Cambridge, MA, 1984).Google Scholar
Loucks, Richard. “Was the Well-Tempered Clavier Performable on a Fretted Clavichord?,” Performance Practice Review 5/1 (Spring 1992), pp. 44–48.Google Scholar
Loüet, Alexandre, Instructions théoriques et pratiques sur l’accord du piano-forte (Paris, 1797).Google Scholar
Luithlen, Victor. “Der Eisenstädter Walterflügel,” in Mozart-Jahrbuch 1954 (Salzburg, 1955), pp. 206–208.Google Scholar
Mabbett, Margaret. “Italian Musicians in Restoration England (1660–90),” Music & Letters 67/3 (July 1986), pp. 237–247.Google Scholar
Mace, Thomas. Musick’s Monument (London, 1676).Google Scholar
MacTaggart, Ann and MacTaggart, Peter. “The Knole Harpsichord: A Reattribution,” The Galpin Society Journal 31 (May 1978), pp. 2–8.Google Scholar
Maffei, Scipione. “Nuova invenzione d’un gravecembalo col piano e forte; aggiunte alcune considerazioni sopra gli strumenti musicali,” in Giornale de’ letterati d’Italia 5 (Venice, 1711), pp. 144–159.Google Scholar
Maffei, Scipione. Rime e prose del Sig. Marchese Scipione Maffei, parte raccolte da varii libri, e parte non più stampate (Venice, 1719), pp. 309–315.Google Scholar
Mahillon, Victor-Charles. Catalogue descriptif et analytique du Musée Instrumental du Conservatoire Royal de Musique de Bruxelles, 2nd ed., 5 vols. (Brussels, 1893–1909).Google Scholar
Mainwaring, John. Memoirs of the Life of the Late George Frederic Handel (London, 1760).Google Scholar
Marenbon, John. The Cambridge Companion to Boethius (Cambridge, 2009).Google Scholar
Marix, J. Histoire de la musique et des musiciens de la cour de Bourgogne (Strasbourg, 1939).Google Scholar
Marpurg, Friedrich Wilhelm. Anleitung zum Clavierspielen (Berlin, 1765).Google Scholar
Marpurg, Friedrich Wilhelm. Die Kunst das Clavier zu spielen (Berlin, 1751).Google Scholar
Marpurg, Friedrich Wilhelm. Historische-kritische Beyträge zur Aufnahme der Musik, (Berlin, 1754).Google Scholar
Marpurg, Friedrich Wilhelm. Kritische Briefe über die Tonkunst (Berlin, 1759–1763).Google Scholar
Marpurg, Friedrich Wilhelm. Versuch über die musikalische Temperatur (Breslau, 1776).Google Scholar
Mathias, F. X. and Wörsching, Jos.. Die Orgelbauer-Familie Silbermann in Strassburg (Mainz, 1959).Google Scholar
Marr, Robert A. Musical History as Shown in the International Exhibition of Music and the Drama, Vienna 1892 (London, 1893).Google Scholar
Martin, Darryl. “The Native Tradition in Transition: English Harpsichords ca. 1680–1725,” in Aspects of Harpsichord Making in the British Isles: The Historical Harpsichord 5, edited by Martin, Darryl, Nex, Jenny, Whitehead, Lance, and O’Brien, Grant (Hillsdale, 2009), pp. 1–115.Google Scholar
Martin, Darryl, Nex, Jenny, Whitehead, Lance, and O’Brien, Grant, eds. Aspects of Harpsichord Making in the British Isles; The Historical Harpsichord 5 (Hillsdale, 2009).Google Scholar
Mattheson, Johann. Critica Musica 2 (Hamburg, 1725).Google Scholar
Maunder, Richard. “J. C. Bach and the Early Piano in London,” Journal of the Royal Musical Association 116/2 (1991), pp. 201–210.Google Scholar
Maunder, Richard. Keyboard Instruments in Eighteenth-Century Vienna (Oxford, 1998).Google Scholar
Maunder, Richard. “Mozart’s Walter Fortepiano,” Early Music (November 2001), p. 669.Google Scholar
Maunder, Richard and Rowland, David, “Mozart’s Pedal Piano,” Early Music 23/2 (May 1995), pp. 287–296.Google Scholar
McGeary, Thomas. “Early English Harpsichord Building, a Reassessment,” The Harpsichord Magazine 1/1 (1973), pp. 7–19.Google Scholar
McGee, Timothy J. “Instruments and the Faenza Codex,” Early Music 14/4 (November 1986), pp. 480–490.Google Scholar
Meer, John Henry van der. “The Dating of German Clavichords,” Organ Yearbook 6 (1975), pp. 100–113.Google Scholar
Meer, John Henry van der. “Die Geschichte der Zupfklavire bis 1800, ein Überblick: Regional Schulen,” in Kielklaviere: Cembali, Spinette, Virginale, edited by van der Meer, John Henry, Elste, Martin, Wagner, Gunther, Rase, Horst, and Droysen-Reber, Dagmar (Berlin, 1991), pp. 16–53.Google Scholar
Meer, John Henry van der. “Introduzione all storia de clavicordo,” in Collezione Tagliavini: Catalogo degli strumenti musicali 1 (Bologna, 2008).Google Scholar
Meer, John Henry van der. “Types of Transposing Harpsichords, Mainly outside the Netherlands,” in Kielinstrumente aus der Werkstatt Ruckers, edited by Rieche, Christiane (Halle, 1998) pp. 98–99.Google Scholar
Meer, John Henry van der, Elste, Martin, Wagner, Günther, Rase, Horst, and Droysen-Reber, Dagmar, editors Kielklaviere; Cembali, Spinette, Virginale, Catalog of the keyboard collection of the Staaliches Institut für Musikforschung Preußischer Kulturbesitz (Berlin, 1991).Google Scholar
Meer, John Henry van der and Weber, Rainer, Catalogo degli Strumenti dell’ Accademia Filarmonica di Verona (Verona, n.d.).Google Scholar
Meeùs, Nicolas. “The Chekker,” The Organ Yearbook 16 (1985), pp. 5–25.Google Scholar
Meeùs, Nicolas. “Keyboard Scholarship,” Early Music 8/2 (April 1980), pp. 222–226.Google Scholar
Melville, Derek. “Beethoven’s Pianos,” The Beethoven Reader, edited by Arnold, Denis and Fortune, Nigel (New York, 1971), pp. 41–67.Google Scholar
Mendel, Arthur. “On the Pitches in Use in Bach’s Time – i,” The Musical Quarterly 41/3 (1955), pp. 332–354.Google Scholar
Mendel, Arthur. “On the Pitches in Use in Bach’s Time – ii,” The Musical Quarterly 41/4 (October 1955), pp. 466–480.Google Scholar
Mendel, Arthur. “Pitch in the 16th and Early 17th Centuries – Part i,” The Musical Quarterly 34/1 (1948), pp. 28–45.CrossRefGoogle Scholar
Mendel, Arthur. “Pitch in the 16th and Early 17th Centuries – Part ii,” The Musical Quarterly 34/2 (1948), pp. 199–221.Google Scholar
Mendel, Arthur. “Pitch in the 16th and Early 17th Centuries – Part iii,” The Musical Quarterly 34/3 (1948), pp. 336–357.Google Scholar
Mendel, Arthur. “Pitch in the 16th and Early 17th Centuries – Part iv,” The Musical Quarterly 34/4 (1948), pp. 575–593.Google Scholar
Mendel, Arthur. Pitch in Western Music since 1500: A Re-examination (Kassel, 1979).Google Scholar
Mendel, Arthur. “Pitch in Western Music since 1500: A Re-examination,” Acta Musicologica (1978), pp. 1–328.Google Scholar
Mendelssohn, Felix. Briefe von Felix Mendelssohn-Bartholdy an Ignaz und Charlotte Moscheles, edited by Moscheles, Felix (Leipzig, 1888).Google Scholar
Mendelssohn, Felix. Letters of Felix Mendelssohn to Ignaz and Charlotte Moscheles (Boston, 1888).Google Scholar
Mersenne, Marin. Harmonie universelle, Book 3 (Paris, 1636).Google Scholar
Mersenne, Marin. Harmonie Universelle, The Books on Instruments, translated by Roger E. Chapman (The Hague, 1957).Google Scholar
Mies, Paul. “Beethovens letzter Flügel: Geschichte und Probleme,” in Verein Beethovenhaus Bonn, 1889–1964, edited by Grundmann, Herbert (Bonn, 1964), pp. 32–34.Google Scholar
Mischiati, O. “Un elenco romano di cembalari redatto nel 1741,” L’Organo 10/1 (1972), pp. 105–106.Google Scholar
Mizler, Lorenz. Neu eröffnete musikalische Bibliothek, 4 vols. (1739–1754).Google Scholar
Mobbs, Kenneth. “Stops and Other Special Effects on the Early Piano,” Early Music 12/4 (November 1984), pp. 471–476.Google Scholar
Mondino, Angelo. “The Intarsia of Urbino,” De Clavicordio 1 (Magnano, 1994), pp. 49–55.Google Scholar
Montal, Claude. L’Art d’accorder soi-même son piano (Paris, 1836, 1865).Google Scholar
Moroney, Davitt. “Bounds and Compasses: The Range of Byrd’s Keyboards,” in Sundry Sorts of Music Books; Essays on the British Library Collections (London, 1993), pp. 69–72.Google Scholar
Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution (Stuyvesant, 1988).Google Scholar
Moscheles, Ignatz. Recent Music and Musicians as Described in the Diaries and Correspondence of Ignatz Moscheles, edited by Moscheles, Charlotte and translated by A. D. Coleridge (New York, 1873).Google Scholar
Mozart Briefe und Aufzeichnungen, edited by Bauer, Wilhelm A. and Deutsch, Otto Erich, 7 vols. (Basel, London, and New York, 1962–1975).Google Scholar
Müller, Werner. Auf den Spuren von Gottfried Silbermann, ein Lebensbild. (Berlin, 1968).Google Scholar
Müller, Werner. Gottfried Silbermann: Persönlichkeit und Werk, eine Dokumentation (Frankfurt, 1982).Google Scholar
Mužíková, Růžena. “Pauli Paulirini de Praga Musica mensuralis,” Acta Universitatis Carolinae; Philosophica et historica 2 (1965), pp. 57–86.Google Scholar
Nachersberg, Johann Heinrich Ernst. Stimmbuch, oder vielmehr: Anweisung, wie jeder Liebhaber sein Clavierinstrument, sei es übrigens ein saiten = oder ein Pfeifenwerk, selbst repariren und also auch stimmen könne (Breslau and Leipzig, 1804).Google Scholar
Neidhardt, Johann George. Beste und leichteste Temperatur des Monochordi (Jena, 1706).Google Scholar
Neidhardt, Johann George. Beste und leichteste Temperatur des Monochordi, facsimile edition with an introduction by Rudolf Rasch (Houton, 2010).Google Scholar
Neidhardt, Johann George. Gäntzlich erschöpfte, mathematische Abtheilungen des diatonisch-chromastischen, temperirten Canonis Monochordi (Königsberg and Leipzig, 1732).Google Scholar
Neidhardt, Johann George. Sectio Canoni Harmonici zur völligen Richtigkeit der generum modulandi (Königsberg, 1724).Google Scholar
Neighbour, Oliver. The Consort and Keyboard Music of William Byrd (Berkeley and Los Angeles, 1978).Google Scholar
Newbould, Brian. Schubert; The Music and the Man (Berkeley and Los Angeles, 1997).Google Scholar
Newcomb, Anthony. “Girolamo Frescobaldi, 1608–1615,” Annales Musicologiques 7 (1964–1977), pp. 143–144.Google Scholar
Newcomb, Anthony. The Madrigal at Ferrara 1579–1597, Vol. 1 (Princeton, 1980).Google Scholar
Nicolas, N. Harris, editor. Privy Purse Expenses of Henry the Eighth (1827).Google Scholar
Nisoli, Michele. “Bartolomeo Cristofori (1655–1732): Rassegna bibliografica con alcune aggiunte biografiche sugli anni padovani” (PhD dissertation, University of Florence, 2011).Google Scholar
Norrback, Johan. A Passable and Good Temperament – A New Methodology for Studying Tuning and Temperament in Organ Music (Göteborg, 2002).Google Scholar
O’Brien, Grant. “Il tiobino fra Napoli e Roma: notizie e documenti su uno strumento di produzione cembalaria,” Recercare 12 (2000), pp. 95–109.Google Scholar
O’Brien, Grant. “Ruckers Double-Manual Harpsichords and Details of Them Relevant to the 1599 Ioannes Ruckers Double-Manual Harpsichord, Händel-Haus, MS-65,” in Kielinstrumente aus der Werkstatt Ruckers, edited by Rieche, Christiane (Halle, 1998), pp. 49–52 (Cambridge, 1990).Google Scholar
O’Brien, Grant. Ruckers: A Harpsichord and Virginal Building Tradition (Cambridge, 1990).Google Scholar
O’Brien, Grant. “Some Principles of Eighteenth-Century Harpsichord Stringing and Their Application,” The Organ Yearbook 12 (1981), pp. 160–176.Google Scholar
O’Brien, Grant and Nocerino, Francesco, “The Tiorbino: An Unrecognized Instrument Type Built by Harpsichord Makers with Possible Evidence for a Surviving Instrument,” The Galpin Society Journal 58 (2005), pp. 184–235.Google Scholar
Och, Laura. “Interessi e conoscenze musicali di Scipione Maffei,” in Scipione Maffei nell’ Europea del Settecento, Verona, September 23–25, 1996, edited by Romagnani, Gian Paolo (Verona, 1998), pp. 551–577.Google Scholar
Odo of Cluny, Dialogus de musica (ca. 900).Google Scholar
Ongaro, Giulio M. “The Tieffenbruckers and the Business of Lute-Making in Sixteenth-Century Venice,” The Galpin Society Journal 44 (March 1991), pp. 46–54.Google Scholar
Ottenberg, Hans-Günter. Carl Philipp Emanuel Bach, translated by Philip J. Whitmore (Oxford, 1991).Google Scholar
Ottner, Helmut. Der Wiener Instrumentenbau 1815–1833 (Tutzing, 1977).Google Scholar
Page, Christopher. “The Myth of the Chekker,” Early Music 7/4 (October 1979), pp. 482–489.Google Scholar
Palisca, Claude. G. B. Doni’s Lyra Barberina: Commentary and Iconographical Study; Facsimile Edition with Critical Notes (Bologna, 1981).Google Scholar
Palisca, Claude. Studies in the History of Italian Music and Music Theory (Oxford, 1994).Google Scholar
Palmieri, Robert, editor. Encyclopedia of the Piano (New York and London, 2003).Google Scholar
Parakilas, James and others. Piano Roles; Three Hundred Years of Life with the Piano (New Haven and London, 1999).Google Scholar
Parrish, Carl. “Criticisms of the Piano When It Was New,” The Musical Quarterly 30/4 (1944), pp. 428–440.Google Scholar
Pascual, Beryl Kenyon de. “Correspondence/Spanish Pianos,” Early Music 14/3 (August 1986), pp. 469–470.Google Scholar
Pascual, Beryl Kenyon de. “Diego Fernández – Harpsichord-Maker to the Spanish Royal Family from 1722 to 1775 – and His Nephew Julián Fernández,” The Galpin Society Journal, 38 (1985), pp. 35–47.Google Scholar
Pascual, Beryl Kenyon de. “Notes and Queries; Queen Maria Bárbara’s Harpsichords,” The Galpin Society Journal, 39 (1986), pp. 125–128.Google Scholar
Pascual, Beryl Kenyon de. “Two Features of Early Spanish Keyboard Instruments,” The Galpin Society Journal 44 (March 1991), pp. 94–102.Google Scholar
Paul, Oscar. Geschichte des Klaviers (Leipzig, 1868).Google Scholar
Paulirinus de Praga, Paulus. Tractatus de musica (ca. 1480).Google Scholar
Pedrell, Felipe. Organografía musical antigua española (Barcelona, 1901).Google Scholar
Perrot, Jean. The Organ from Its Invention in the Hellenistic Period to the End of the Thirteenth Century (London, 1971).Google Scholar
Pesenti, Martino. Correnti, gagliarde, e balletti diatonici, transporati parte cromatici, e parte henarmonici, libro quarto (Venice, 1645–1646).Google Scholar
Petri, Johann Samuel. Anleitung zur praktischen Musik (Leipzig, 1782).Google Scholar
Pfeiffer, Walter. The Piano Key and Whippen (Frankfurt am Main, 1960).Google Scholar
Pierre, Constant. Le Conservatoire Nationale de Musique et de Déclamation, documents (Paris, 1900).Google Scholar
Pierre, Constant. Les Facteurs d’instruments de musique (Paris, 1893).Google Scholar
Place, Adélaïde de. Le Piano-forte à Paris entre 1760 et 1822 (Paris, 1986).Google Scholar
Pollens, Stewart. Bartolomeo Cristofori and the Invention of the Piano (Cambridge, 2017).Google Scholar
Pollens, Stewart. “The Bonafinis Spinet: An Early Harpsichord Converted into a Tangent Piano,” Journal of the American Musical Instrument Society 13 (1987), pp. 5–22.Google Scholar
Pollens, Stewart. “Christoph Gottlieb Schröter: Inventor or Fraud,” Early Keyboard Journal 18 (2000), pp. 139–153.Google Scholar
Pollens, Stewart. “Cristofori and Érard,” in Musique, images, instrument: Le Pianoforte en France 1780–1820 (Paris, 2009), pp. 75–81.Google Scholar
Pollens, Stewart. “The Claviorgan by Lorenz Hauslaib, Nuremberg, 1598,” in 600 Jahre Cembalobau in Österreich, edited by Huber, Alfons (Tutzing, 2001), pp. 247–267.Google Scholar
Pollens, Stewart. “Curt Sachs and Musical Instrument Restoration,” The Musical Times 130/1760 (1989), pp. 589–594.Google Scholar
Pollens, Stewart. “Early Alterations Made to Ruckers, Couchet and Grouwels Harpsichords in the Collection of the Metropolitan Museum of Art,” in Kielinstrumente aus der Werkstatt Ruckers, edited by Rieche, Christiane (Halle, 1998), pp. 136–170.Google Scholar
Pollens, Stewart. “Early Nineteenth-Century German Language Works on Piano Maintenance,” Early Keyboard Journal 8 (1990), pp. 91–109.Google Scholar
Pollens, Stewart. The Early Pianoforte (Cambridge, 1995).Google Scholar
Pollens, Stewart. “Flemish Harpsichords and Virginals in the Metropolitan Museum of Art: An Analysis of Early Alterations and Restorations,” The Metropolitan Museum Journal 32 (1997), pp. 85–110.Google Scholar
Pollens, Stewart. “Gottfried Silbermann’s Pianos,” The Organ Yearbook 17 (1986), pp. 103–121.Google Scholar
Pollens, Stewart. “The Gatti–Kraus Piano Action Ascribed to Bartolomeo Cristofori,” The Galpin Society Journal 55 (2002), pp. 269–278.Google Scholar
Pollens, Stewart. “House of Cards,” The Strad 122/1460 (December 2011), pp. 46–54.Google Scholar
Pollens, Stewart. “2000 Instruments, One Conservator,” in Instruments pour demain: conservation and restauration des instruments de musique (Champs-sur-Marne, 2000), pp. 47–53.Google Scholar
Pollens, Stewart. “Making Purfling as Stradivari Did,” in Hinter den Tönen, Musikinstrumente als Forschungsgebiet; Festschrift für Friedemann Hellwig zu sienem 80. Geburtstag, edited by Fontana, Eszter, Martius, Klaus, and Zepf, Markus (Nuremberg, 2018), pp. 122–124.Google Scholar
Pollens, Stewart. The Manual of Musical Instrument Conservation (Cambridge, 2015).Google Scholar
Pollens, Stewart. “Michele Todini’s Golden Harpsichord: An Examination of the Machine of Galatea and Polyphemus,” Metropolitan Museum Journal 25 (1990), pp. 33–47.Google Scholar
Pollens, Stewart. “Michele Todini’s Golden Harpsichord: Changing Perspectives,” Music in Art: International Journal for Music Iconography 32/1–2 (Spring–Fall 2007), pp. 142–151.Google Scholar
Pollens, Stewart. “A Pantalonclavichord by C. Kintzing of Neuwied, 1763,” in De Clavicordio 4, Proceedings of the IV International Clavichord Symposium, edited by Brauchli, Bernard, Brauchli, Susan, and Galazzo, Alberto (Magnano, 2000).Google Scholar
Pollens, Stewart. “The Pianos of Bartolomeo Cristofori,” Journal of the American Musical Instrument Society 10 (1984), pp. 32–68.Google Scholar
Pollens, Stewart. “The Piano of the Future” in Clefs pour le Piano, edited by Kreidy, Ziad (Château-Gontier, 2018), pp. 397–412.Google Scholar
Pollens, Stewart. “The Restoration of a Fortepiano by Conrad Graf, ca. 1838, in the Collection of the Metropolitan Museum of Art,” in Chopin et son temps, edited by Hug, Vanja and Steiner, Thomas (Bern, 2010), pp. 216–226.Google Scholar
Pollens, Stewart. “Review of Librem Segreti de Buttegha: A Book of Workshop Secrets by Andrew Dipper,” The Strad 124/1481 (September 2013), p. 116.Google Scholar
Pollens, Stewart. “Soler’s Temperament and His Accordante,” in Nuevas perspectivas sobre la música para tecla de Antonio Soler, edited by Morales, Luisa and Latcham, Michael (Barcelona, 2016), pp. 17–38.Google Scholar
Pollens, Stewart “The Three Cristofori pianos,” in Il cembalo a martelli da Bartolomeo Cristofori a Giovanni Ferrini, edited by Latcham, Michael and Di Stefano, Giovanni Paolo (Bologna, 2019), pp. 21–41.Google Scholar
Ponsicchi, Cesare. Il primo pianoforte verticale (Florence, 1898).Google Scholar
Praetorius, Michael. Sciagraphia (Wolfenbüttel, 1620).Google Scholar
Praetorius, Michael. Syntagma musicum 2, De organographia (Wolfenbüttel, 1619).Google Scholar
Praetorius, Michael. Theatrum instrumentorum, 2 (Wolfenbüttel, 1620).Google Scholar
Printz, Wolfgang Caspar. Phrynis Mytilenaeus oder der satyrische Componist (Dresden and Leipzig, 1696).Google Scholar
Prizer, William F. “Isabella d’Este and Lorenzo da Pavia, ‘Master Instrument-Maker,’” in Early Music History 2; Studies in Medieval and Early Modern Music, edited by Fenlon, Iain (Cambridge, 1982), pp. 87–127.Google Scholar
Prost, Bernard. Inventaires mobiliers et extraits des compts des ducs de Bourgogne de la maison de Valois (1363–1477), 2 vols. (Paris, 1902–1913).Google Scholar
Puliti, Leto. “Della vita del Ser.mo Ferdinando dei Medici Granprincipe di Toscana e della origine del pianoforte,” in Atti dell’Accademia del R. Istituto Musicale in Firenze 12 (Florence, 1874), pp. 92–216.Google Scholar
Quantz, Johann Joachim. Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin, 1752).Google Scholar
Rameau, Jean-Philippe. Generation harmonique, ou Traité de musique théorique et pratique (Paris, 1737).Google Scholar
Rameau, Jean-Philippe. Nouveau système de musique théorique (Paris, 1726).Google Scholar
Rameau, Jean-Philippe. Traité de l’harmonie (Paris, 1722).Google Scholar
Rameau, Jean-Philippe. Treatise on Harmony, translated with an introduction and notes by Philip Gossett (New York, 1971).Google Scholar
Ramos, Bartolomé. Musica practica (Bologna, 1482).Google Scholar
Rasch, Rudolf. “Does ‘Well-Tempered’ Mean ‘Equal Tempered’?,” in Bach, Handel, Scarlatti, Tercentenary Essays, edited by Williams, Peter (Cambridge, 1985), pp. 293–310.Google Scholar
Rasch, Rudolf. “On Terminology for Diatonic, Chromatic, and Enharmonic Keyboards,” Schweitzer Jahrbuch für Musikwissenschaft 22 (2002), pp. 21–33.Google Scholar
Rase, Horst. “Renaissance des Cembalos,” in Kielklaviere; Cembali, Spinette, Virginale, edited by Henry van der Meer, John, Elste, Martin, and Wagner, Günther, (Berlin, 1991), pp. 278–309.Google Scholar
Rayner, Clare G. “The Enigmatic Cima: Meantone Tuning and Transpositions,” The Galpin Society Journal 22 (March 1969), pp. 23–34.Google Scholar
Rees, Abraham. The Cyclopaedia; or Universal Dictionary (Philadelphia, 1810–1842).Google Scholar
Reese, Gustave. Music in the Renaissance (New York, 1954).Google Scholar
Reich, Nancy B. Clara Schumann: The Artist and the Woman (Ithaca and London, 1985).Google Scholar
Reidemeister, Peter and Gutmann, Veronika. Alte Musik, Praxis und Reflection (Winterthur, 1983).Google Scholar
Restle, Konstantin. “Mozarts Hammerflügel,” in Bericht über den International Mozart-Kongress Salzburg 1991; Mozart-Jahrbuch 1991 (Kassel, 1992), pp. 313–318.Google Scholar
Restle, Konstanin and Aschenbrandt, Susanne, editors. Das Berliner “Bach-Cembalo”: Ein Mythos und seine Folgen (Berlin, 1995).Google Scholar
Rice, John A. “Anton Walter, Instrument Maker to Leopold II,” Journal of the American Musical Instrument Society 15 (1989), pp. 32–51.Google Scholar
Rimbault, Edward F. The Pianoforte, Its Origin, Progress, and Construction (London, 1860).Google Scholar
Ripin, Edwin M. “The Couchet Harpsichord in the Crosby Brown Collection,” Metropolitan Museum Journal 2 (1969), pp. 168–178.Google Scholar
Ripin, Edwin M. “The Early Clavichord,” The Musical Quarterly 53/4 (1967), pp. 526–527.Google Scholar
Ripin, Edwin M. The Instrument Catalogs of Leopoldo Franciolini (Hackensack, 1974).Google Scholar
Ripin, Edwin M. “En Route to the Piano: A Converted Virginal,” Metropolitan Museum Journal 13 (1979), pp. 79–86.Google Scholar
Ripin, Edwin M. “Johann Andreas Stein’s Melodica,” The Organ Yearbook 8 (1977), pp. 56–60.Google Scholar
Ripin, Edwin M., editor. Keyboard Instruments: Studies in Keyboard Organology 1500–1800 (Edinburgh, 1971).Google Scholar
Ripin, Edwin. M. “The Norrlanda Organ and the Ghent Alterpiece,” in Studia Instrumentorum Musicae Popularis 3, Festschrift für Ernst Emsheimer (Stockholm, 1974), pp. 193–196.Google Scholar
Ripin, Edwin M. “The Surviving Œuvre of Girolamo Zenti,” Metropolitan Museum Journal 7 (1973), pp. 71–87.Google Scholar
Ripin, Edwin M. “Towards an Identification of the Chekker,” Galpin Society Journal 28 (April 1975), pp. 11–25.Google Scholar
Ripin, Edwin M. “The Two-Manual Harpsichord in Flanders before 1650,” The Galpin Society Journal 21 (March 1968), pp. 33–39.Google Scholar
Ripin, Edwin M. “A Reassessment of the Fretted Clavichord,” The Galpin Society Journal 23 (August 1970), pp. 40–48.Google Scholar
Ripin, Edwin M. “A Reevaluation of Virdung’s Musica getutscht,” Journal of the American Musicological Society 29/2 (1976), pp. 189–223.Google Scholar
Rockstro, William Smith. The Life of George Frideric Handel (London, 1883).Google Scholar
Rorimer, James J. “A Double Virginal dated 1581 by Hans Ruckers,” Metropolitan Museum Studies (1929), pp. 176–186.Google Scholar
Rose, Malcolm and Law, David. A Handbook of Historical Stringing Practice for Keyboard Instruments (Lewes, 2005).Google Scholar
Rosen, Charles. The Classical Style; Haydn, Mozart, Beethoven (New York and London, 1998).Google Scholar
Roudier, Alain. “Les Pianos Érard en forme de clavecin (1790–1797),” Michaelsteiner Konferenzberichte 48: Sébastien Érard: Ein europäischer pionier des Instrumentenbaus (Michaelstein, 1994).Google Scholar
Rousseau, Jean. Traité de la viole (Paris, 1687).Google Scholar
Rousseau, Jean Jacques. Dictionnaire de musique (Paris, 1775).Google Scholar
Rowland, David. A History of Pianoforte Pedalling (Cambridge, 1993).Google Scholar
Rowland, David. “Roger Long’s Gut-Strung Keyboard Instruments and Thomas Barton’s Harpsichord Stringing,” Early Music 44/3 (2016), pp. 461–471.Google Scholar
Rück, Ulrich. “Mozarts Hammerflügel Erbaute Anton Walter, Wien,” in Mozart-Jahrbuch 1955 (Salzburg, 1956), pp. 246–262.Google Scholar
Rumsey, David. www.davidrumsey.ch/buxheimerorgelbuch.Google Scholar
Russell, Raymond. The Harpsichord and Clavichord, an Introductory Study (New York, 1973).Google Scholar
Sachs, Curt. Das Klavier (Berlin, 1923).Google Scholar
Sachs, Curt. “Die Musikinstrumente der Minneregal,” Sammelbände der Internationalen Musikgesellschaft 12 (1913), pp. 484–486.Google Scholar
Sachs, Curt. The Rise of Music in the Ancient World, East and West (New York, 1943).Google Scholar
Salinas, Francisco. De musica libri septem (Salamanca, 1577).Google Scholar
Samoyault-Verlet, Colombe. Les Facteurs de clavecins parisiens, notices biographiques et documents (1550–1793) (Paris, 1966).Google Scholar
Sand, George. The Story of My Life, translated by Dan Hofstadter (London, 1984).Google Scholar
Sand, George. Winter in Majorca, translated and annotated by Robert Graves (Valldemossa, 1956).Google Scholar
Santa Mariá, Tomá de. Arte de tañer fantasia, assi para tecla como para vihuela (Valladolid, 1565).Google Scholar
Scarlatti, Domenico. Essercizi (1938) 30 Sonatas for Keyboard, edited by Valenti, Fernando (Milwaukee, 1979).Google Scholar
Scheibert, Beverly. Jean-Henry d’Anglebert and the Seventeenth-Century Clavecin School (Bloomington,1986).Google Scholar
Scheibler, Johann Heinrich. An Essay on the Theory and Practice of Tuning in General and on Scheibler’s Invention of Tuning Pianofortes and Organs by the Metronome, translated by Augustus Wehrhan (London, 1853).Google Scholar
Schilling, Gustav. Encyclopædie der gesammten musikalischen Wissenschaften, oder Universal-Lexicon der Tonkunst, Vol. 3 (Stuttgart, 1840).Google Scholar
Schindler, Anton Felix. Beethoven as I Knew Him, edited by Kalischer, A. C. (New York, 1966).Google Scholar
Schmidt, Martin-Christian. “Der deutsche Cembalobau und das 16′-Register – Möglichkeiten und Grenzen der Realisierung,” in Das deutsche Cembalo, edited by Ahrens, Christian and Klinke, Gregor (Munich and Salzburg, 2000), pp. 53–67.Google Scholar
Schneider, Nicola. “Christian Heinrich von Watzdorf als Musikmäzen,” Die Musikforschung 63 (2010), pp. 20–34.Google Scholar
Schönfeld, Johann Ferdinand von. Jahrbuch der Tonkunst von Wien und Prag (Vienna, 1796).Google Scholar
Schott, Howard. “Bach, Johann Sebastian (1685–1750),” in The Harpsichord and Clavichord, an Encyclopedia, edited by Kipnis, Igor (New York and London, 2007), pp. 22–23.Google Scholar
Schott, Howard. “The Harpsichord Revival,” Early Music 2/2 (1974), pp. 85–95.Google Scholar
Schott, Howard. Playing the Harpsichord (New York, 1971).Google Scholar
Schott, Howard. Victoria and Albert Museum: Catalogue of Musical Instruments, Volume 1, Keyboard Instruments (London, 1985).Google Scholar
Schubart, Christian Friedrich Daniel. Ideen zu einer Ästhetik de Tonkunst, edited by Schubart, Ludwig (Vienna, 1806).Google Scholar
Schulenberg, David. “Bach’s Temperament,” Early Music 40/1 (February 2012), pp. 166–167.Google Scholar
Schumann, Clara and Brahms, Johannes. Letters of Clara Schumann and Johannes Brahms, 1853–1896, edited by Litzmann, Berthold (New York, 1927).Google Scholar
Schumann, Robert. Robert Schumanns Briefe: Neue Folge, 2nd ed., edited by Jansen, F. Gustav (Leipzig, 1904).Google Scholar
Schwartz, Gabriele. “Die Lackfassung des schwarzen Cembalos aus Schloss Charlottenburg,” Restauro 6 (November–December 1993), pp. 400–404.Google Scholar
Schwarz, Kerstin. “Bartolomeo Cristofori, Hammerflügel und Cembali im Vergleich,” Scripta Artium 2(2001), pp. 23–67.Google Scholar
Scruton, Roger. The Aesthetics of Music (Oxford, 2009).Google Scholar
Shaw, George Bernard. Music in London 1890–94 by Bernard Shaw, Vol. 2 (London, 1949).Google Scholar
Shortridge, John. Italian Harpsichord-Building in the 16th and 17th Centuries, Contributions from the Museum of History and Technology: United States National Museum Bulletin Paper 15 (Washington, DC, 1960), pp. 93–107.Google Scholar
Silva, Preethi de. The Fortepiano Writings of Streicher, Dieudonné, and the Schiedmayers (Lampeter and Lewiston, 2008).Google Scholar
Simonson, Robert. “The Archives of John Broadwood and Sons: Two Centuries of Musical History,” Early Music Performer 18 (May 2006), pp. 25–33.Google Scholar
Sitwell, Osbert. Left Hand, Right Hand (Boston, 1944).Google Scholar
Sitwell, Sacheverell. A Background for Domenico Scarlatti (London, 1935).Google Scholar
Skowroneck, Tilman. “Beethoven’s Érard Piano: Its Influence on His Compositions and on Viennese Fortepiano Building,” Early Music 30/4 (2002), pp. 523–538.Google Scholar
Skowroneck, Tilman. Beethoven the Pianist (Göteborg, 2007).Google Scholar
Soler, Antonio. Theórica, y práctica del temple para los órganos, y claves (n.d.; facsimile, Sociedad Española de Musicología, Madrid, 1983).Google Scholar
Somfai, Lászlo. The Keyboard Sonatas of Joseph Haydn (Chicago and London, 1995).Google Scholar
Sonneck, O. G., editor. Beethoven: Impressions by His Contemporaries (New York, 1967).Google Scholar
Sorge, Georg Andreas. Gespräch zwischen einem Musico theoretico un einem Studioso musices (Lobenstein, 1748).Google Scholar
Southern, Eileen. The Buxheim Organ Book (New York, 1973).Google Scholar
Speerstra, Joel. Bach and the Pedal Clavichord, An Organist’s Guide (Rochester, 2004).Google Scholar
Speiss, Meinrad. Tractatus musicus compositorio-practicus (Augsburg, 1746).Google Scholar
Speth, Johann. Ars magna consoni et dissoni (Augsburg, 1693).Google Scholar
Spinelli, Lorenzo. “Le esperienze veneziane del principe Ferdinando de’ Medici et le influenze sulla politica spettacolare e dinastica Toscana (1688–1696),” Medioevo e Rinascimento 19/16 (2005), pp. 139–199.Google Scholar
Starkey, David, editor. The Inventory of King Henry VIII, The Transcript (London, 1998).Google Scholar
Steblin, Rita. “Early Viennese Fortepiano Production, Anton Walter and New Inventions by Johann Georg Volkert in 1777–1783,” Studien zur Musikwissenschaft 55 (2009), pp. 269–302.Google Scholar
Steblin, Rita. A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries (Rochester, 2002).Google Scholar
Stefano, Giovanni Paolo Di. “The Gatti–Kraus Piano Action: The Legend of Cristofori and the Florentine Market for Forgeries in the Nineteenth and Twentieth Centuries,” in Il Cembalo a Martelli da Bartolomeo Cristofori a Giovanni Ferrini, edited by Latcham, Michael and Di Stefano, Giovanni Paolo (Bologna, 2019), pp. 43–63.Google Scholar
Stein, Johann Andreas. Beschreibung eines neuerfundenen Clavier-instrumentes, Melodica genannt, von Johann Andreas Stein, Orgel: Instrumentmacher, und Organisten bey der evangelischen Kirche zu den Barfüssern in Augspurg, Neue Bibliothek der schönen Wissenschaften und der freyen Künste (Leipzig, 1772).Google Scholar
Stein, Johann Andreas. The Notebook of Johann Andreas Stein; Facsimile – Transcription – Translation, 2 vols., edited and annotated by Latcham, Michael (Wilhelmshaven, 2014).Google Scholar
Steinert, Morris. Reminiscences of Morris Steinert, compiled and arranged by Jane Marlin (New York and London, 1900).Google Scholar
Steinway & Sons. Steinway Grand Key and Action Regulation (New York, 1949).Google Scholar
Stembridge, Christopher. “The Cimbalo Cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence),” Peformance Practice Review 6/1 (1993), pp. 43–48.Google Scholar
Stetten, Paul von. Kunst- Gewerb- und Handwerks Geschichte der Reichs-Stadt Augsburg (Augsburg, 1779–1788).Google Scholar
Stevens, Denis. The Mulliner Book; A Commentary (London, 1952).Google Scholar
Stevens, Denis, editor. The Mulliner Book (London, 1951).Google Scholar
Straeten, Edmund vander. La Musique aux Pays-Bas, Vol. 7 (Brussels, 1885).Google Scholar
Streicher, Andreas. Kurze Bemerkungen über das Speilen, Stimmen und Erhalten der Fortepiano, welche von den Geschwistern Stein in Wien verfertiget werden (Vienna, 1801).Google Scholar
Strunk, Oliver. Source Readings in Music History (New York, 1950).Google Scholar
Swafford, Jan. Johannes Brahms: A Biography (New York, 1999).Google Scholar
Swich, Luigi. “Further Thoughts on Bach’s 1722 Temperament,” Early Music 39/3 (2011), pp. 401–407.Google Scholar
Taruskin, Richard. Music from the Earliest Notations to the Sixteenth Century (Oxford, 2010).Google Scholar
Taruskin, Richard. Text and Act (Oxford, 1995).Google Scholar
Terry, Charles Sanford. Johann Christian Bach: A Biography (London, 1929).Google Scholar
Tessier, André. “Preface,” Jacques Champion de Chambonnières, Œuvres complètes, edited by Brunold, Paul and Tessier, André (New York, 1967).Google Scholar
Thayer, Alexander Wheelock. Thayer’s Life of Beethoven, edited by Forbes, Elliot (Princeton, 1967).Google Scholar
Thibault, G., Jenkins, Jean, and Bran-Ricci, Josiane. Eighteenth Century Musical Instruments: France and Britain (London, 1973).Google Scholar
Thomas, William R. and Rhodes, J. J. K., “The String Scales of Italian Keyboard Instruments,” Galpin Society Journal 20 (March, 1967), pp. 48–62.Google Scholar
Thomée, H. “Untersuchungen über Draht- und Blechlehren,” Zeitschrift des Vereines Deutscher Ingineure 10 (1866), pp. 659–660.Google Scholar
Thon, Christian Friedrich Gottlieb. Abhandlung über Klavier-Saiten-Instrumente (Weimar, 1843).Google Scholar
Thon, Christian Friedrich Gottlieb. Über Klavierinstrumente, deren Ankauf, Behandlung und Stimmung (Sonderhausen, 1817).Google Scholar
Tiella, Marco. “The Archicembalo of Nicola Vincentino [sic],” The English Harpsichord 1/5 (1975), pp. 134–144.Google Scholar
Tiella, Marco. “The Positive Organ of Lorenzo da Pavia,” The Organ Yearbook 7 (1976), pp. 4–15.Google Scholar
Tilney, Colin. “The Forquerays,” A. Forqueray, Pièces de clavecin (Paris, 1974).Google Scholar
Todini, Michele. Dichiaratione della Galleria Armonica eretta in Rome da Michele Todini Piemontese di Saluzzo, nella sua habitatione, posta all’arco della ciambella (Rome, 1676).Google Scholar
Toffolo, S. and Pedani, M. P., “Una famiglia di liutai tedeschi a Venezia: i Tieffenbrucker,” Il Fronimo 13 (April 1985), pp. 56–62.Google Scholar
Torchi, Luigi. L’Arte musicale in Italia 3 (Milan, 1959)Google Scholar
Trichet, Pierre Traité des instruments de musique, edited by Lesure, François (Neuilly-sur-Seine, 1957).Google Scholar
Trouflaut, l’Abbé. “Lettre sur les clavecins en peau de buffle, inventés par M. Pascal,” Journal de Musique 5 (Paris, 1773), pp. 3–12.Google Scholar
Türk, Daniel Gottlob. Klavierschule, oder Anweisung zum Klavierspielen für Lehrer und Lernende (Leipzig and Halle, 1789).Google Scholar
Türk, Daniel Gottlob. School of Clavier Playing, translated by Raymond H. Haggh (Lincoln, NE and London, 1982).Google Scholar
Valdrighi, Luigi-Francesco. Nomocheliurgografìa antica e moderna (Modena, 1884).Google Scholar
Valentin, Erich. “Das Testament der Constanze Mozart-Nissen,” Neues Mozart-Jahrbuch 2 (1942), pp. 128–181.Google Scholar
Vanneus, Stephanus. Recanetum de musica aurea (Rome, 1533).Google Scholar
Verbeek, Pierre. “The Urbino Clavichord Revisited,” De Clavicordo 10 (2012), pp. 205–224.Google Scholar
Vermeij, Koen. The Hubert Clavichord Data Book; A Description of All Extant Clavichords by Christian Gottlob Hubert 1714–1793 (Bennebroek, 2000).Google Scholar
Vicentino, Nicola. Ancient Music Adapted to Modern Practice, translated by Maria Rika Maniates, edited by Palisca, Claude V. (New Haven and London, 1996).Google Scholar
Vicentino, Nicola. L’Antica musica ridotta alla moderna prattica (Rome, 1555).Google Scholar
Virdung, Sebastian. Musica getutscht (Basel, 1511).Google Scholar
Virdung, Sebastian. Musica getutscht: A Treatise on Musical Instruments (1511) by Sebastian Virdung, edited and translated by Beth Bullard (Cambridge, 1993).Google Scholar
Vitali, Carlo and Furnari, Antonello, “Händels Italianreise; Neue Dokumente, Hypotheses und Interpretationen,” in Göttinger Händel-Beiträge im Auftrag der Göttinger Händel-Gesellschaft, edited by Marx, Hans Joachim and Sandberger, Wolfgang (Kassel, 1991).Google Scholar
Vitielli, Francesco. La “Lyra Barbarina” di G. B. Doni (Pesaro,1908).Google Scholar
Wainwright, David. Broadwood by Appointment, A History (London, 1982).Google Scholar
Wainwright, David. The Piano Makers (London, 1975).Google Scholar
Wainwright, David and Mobbs, Kenneth, “Shudi’s Harpsichords for Frederick the Great,” The Galpin Society Journal 44 (March 1996), pp. 77–94.Google Scholar
Walker, Alan. Franz Liszt: The Final Years (Ithaca, 1996).Google Scholar
Walker, Alan. Franz Liszt: The Virtuoso Years 1811–1847 (Ithaca, 1987).Google Scholar
Walker, Alan. Franz Liszt: The Weimar Years 1848–1861 (Ithaca, 1989).Google Scholar
Walker, Alan. The Life and Times of Fryderyk Chopin (New York, 2018).Google Scholar
Wallner, Bertha Antonia, editor. Das Buxheimer Orgelbuch (Basel, 1959).Google Scholar
Walter, Horst. “Haydn’s Keyboard Instruments,” in Haydn Studies, edited by Larsen, Jens Peter, Serwer, Howard, and Webster, James (New York and London, 1981), pp. 213–216.Google Scholar
Walter, Horst. “Haydn’s Klaviere,” Haydn-Studien 2 (1969–1970), pp. 256–288.Google Scholar
Walther, Johann Gottfried. Musicalisches Lexicon oder musicalisches Bibliothec (Leipzig, 1732).Google Scholar
Wells, Elizabeth, editor. Royal College of Music Museum of Instruments, Catalogue Part ii, Keyboard Instruments (London, 2000).Google Scholar
Werckmeister, Andreas. Die nothwendigsten Anmerckungen, und Regeln, wie der Bassus continuus, oder General-Bass wol könne tractiret werden, und ein jeder, so nu rein wenig Wissenschaft von der Music und Clavier hat, denselben von sich selbst erlernen könne (Aschersleben, 1698).Google Scholar
Werkmeister, Andreas. Erweiterte und verbesserte Orgel-Probe (Quedlinburg, 1698).Google Scholar
Werckmeister, Andreas. Musicalische Paradoxal-Discourse (Quedlinburg, 1707).Google Scholar
Werckmeister, Andreas. Musicalische Temperatur, oder deutlicher und warer Mathematischer Unterricht/wie man durch Unweisung des Monochordi ein Klavier/sonderlich die Orgel-Wercke/Positive, Regale, Spinetten/und vergleichen wol temperirt stimmen könne/damit nach heutiger manier alle Modi ficti in einer angenehm-und erträglichen Harmonia mögen genommen werden (Quedlinburg, 1691).Google Scholar
Werckmeister, Andreas. Werckmeister’s Erweiterte und verbesserte Orgelprobe in English, translated by Gerhard Krapf (Raleigh, 1976).Google Scholar
White, William Braid. Piano Tuning and the Allied Arts (Boston, 1917).Google Scholar
Whitehead, Lance Edwin. “The Clavichords of Hieronymus and Johann Hass” (PhD dissertation, University of Edinburgh, 1994).Google Scholar
Wild, Jonathan. “Genus, Species and Mode in Vicentino’s 31-Tone Compositional Theory,” Music Theory Online 20/2 (2014).Google Scholar
Williams, Peter. A New History of the Organ (Bloomington and London, 1980).Google Scholar
Williams, Peter, editor. Bach, Handel, Scarlatti Tercentenary Essays (Cambridge, 1995).Google Scholar
Winternitz, Emanuel. “The Crosby Brown Collection of Musical Instruments: Its Origin and Development,” Metropolitan Museum Journal (1970), pp. 337–356.Google Scholar
Winternitz, Emanuel. Leonardo da Vinci as a Musician (New Haven and London, 1982), pp. 137–167.Google Scholar
Winternitz, Emanuel. Leonardo’s Invention of the Viola Organista, Estratta da Raccolta Vinciana, fasc. xx (Milan, 1964).Google Scholar
Wit, Paul de. “Der Flügel Joh. Seb. Bachs,” Zeitschrift für Instrumentenbau 36/21 (September 1890), pp. 429–432.Google Scholar
Wit, Paul de. “Ein aufrechtes Hammerklavier von Friederici,” Zeitschrift für Instrumentenbau 46/1 (1925), pp. 700–703.Google Scholar
Wittmayer, Kurt. “Der Flügel Mozarts,” in Bericht über den International Mozart-Kongress Salzburg 1991; Mozart-Jahrbuch 1991 (Kassel, 1992), pp. 301–312.Google Scholar
Wöber, Franz Xaver. Der Minne Regel von Eberhardus Cersne aus Minden 1404 mit einem Anhange von Liedern (Vienna, 1861).Google Scholar
Wolfenden, Samuel. A Treatise on the Art of Pianoforte Construction (London, 1916 and 1927 supplement).Google Scholar
Wolff, Christoph. Johann Sebastian Bach, The Learned Musician (New York and London, 2013).Google Scholar
Wolff, Christoph. “New Research on Bach’s Musical Offering,” The Musical Quarterly 57/3 (1971), pp. 379–408.Google Scholar
Wolff, Christoph and Zepf, Markus. The Organs of J. S. Bach, a Handbook, trans. by Lynn Edwards Butler (Urbana, Chicago, and Springfield, 2012).Google Scholar
Worp, J. A. De Briefwisseling van Constantijn Huygens (1608–1687), Vol. 4 (The Hague, 1915).Google Scholar
Wraight, Denzil. “The Stringing of Italian Keyboard Instruments c. 1500–1650,” 2 volumes (PhD dissertation, Queen’s University, Belfast, 1997).Google Scholar
Wraight, Denzil. “Vincentius and the Earliest Harpsichords,” Early Music 14 (November 1986), pp. 534–540.Google Scholar
Wraight, Denzil. “A Zenti Harpsichord Rediscovered,” Early Music 19 (1991), pp. 99–101.Google Scholar
Wright, Craig M. Music at the Court of Burgundy, 1364–1419: A Documentary History, Vol. xxviii of Musicological Studies (Henryville, Ottawa, and Binningen, 1979), pp. 123–127.Google Scholar
Wythe, Deborah. “Conrad Graf (1782–1851): Imperial Royal Court Fortepiano Maker in Vienna” (PhD dissertation, New York University, 1990).Google Scholar
Yang, Yaokun. “Haydn Piano Sonatas: An Examination of Style and Performance” (PhD dissertation, University of Kansas, 2012).Google Scholar
Zamoyski, Adam. Chopin, Prince of the Romantics (London, 2010).Google Scholar
Zarlino, Gioseffo. Institutioni harmoniches (Venice, 1558).Google Scholar
Zedler, Johann Heinrich. Grosses vollständiges Universal-Lexicon, 64 vols. (Halle and Leipzig, 1732–1750).Google Scholar
Żerańska-Kominek, Sławomira. “Music in Der Minne Regel by Eberhard Cersne of Minden (1404),” Musicology Today (2007), pp. 5–16.Google Scholar
Zuckermann, Wolfgang Joachim. The Modern Harpsichord; Twentieth-Century Instruments and Their Makers (New York, 1969).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@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.

  • Bibliography
  • Stewart Pollens
  • Book: A History of Stringed Keyboard Instruments
  • Online publication: 03 April 2022
  • Chapter DOI: https://doi.org/10.1017/9781108379915.011
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.

  • Bibliography
  • Stewart Pollens
  • Book: A History of Stringed Keyboard Instruments
  • Online publication: 03 April 2022
  • Chapter DOI: https://doi.org/10.1017/9781108379915.011
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.

  • Bibliography
  • Stewart Pollens
  • Book: A History of Stringed Keyboard Instruments
  • Online publication: 03 April 2022
  • Chapter DOI: https://doi.org/10.1017/9781108379915.011
Available formats
×