FoMRHI: Communications

 

FoMRHI Communications

Communications are sent to the secretary and published every quarter.

Back issues of FoMRHI are now available on this website, in electronic format. See All bulletins for links to downloadable PDFs. See below for listings of the communications in each bulletin.

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For a copy of an index of Quarterlies and their contents up to 1998, contact the secretary. You can find a searchable index of Comms at www.xs4all.nl/~stremen/fomrhi_i.html

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LIST OF FOMRHI COMMUNICATIONS (‘Comms’) PUBLISHED IN FoMRHI QUARTERLIES SINCE 1975 up to end of subscription year just passed

Most recent Quarterlies first; the current year's printed Quarterlies are posted to this website at the end of the subscription year.

Quarterly No. 126, March 2014

Comm 2000 The oboes of Richters: about methods of research in woodwind instruments, by Jan Bouterse 8
Comm 2001 Lute Metrology and the 'Venetian Inch' – All Fingers and Thumbs? Part 1. Some Further Thoughts and Observations following Comm. 1952, by John Downing
Comm 2002 The trammel of Archimedes; a draughting tool for 16th century Venetian lute makers? by John Downing
Comm 2003 A triangular spinet of an unknown Italian maker, second part, by Marco Tiella
Comm 2004 Glagget’s patent tuning-key, or how the industrial revolution might not have happened, by Chris Barlow
Comm 2005 Early music: beauty in history? by Ephraim Segerman
Comm 2006 Early double bass iconography: Response to Comm 1995, by Ephraim Segerman
Comm 2007 How did the Babylonians give someone an A? Response to Comm 1996, by Ephraim Segerman

Fomrhi Quarterly 125, December 2013

Comm 1995 Early double bass iconography, by Uta Henning
Comm 1996 How did the Babylonians give someone an ‘A’? by David Fellows
Comm 1997 The sacred use of bells in Carinthia, iconography from the Middle Ages to the renaissance, by Uta Henning
Comm 1998 A rare 1698 Joachim Tielke angélique, by James Westbrook
Comm 1999 REVIEW: ‘The ‘Ukulele: a history’ Jim Tranquada and John King, by Chris Egerton

Fomrhi Quarterly 124, June 2013

Comm 1988 18th Century clarinets in Holland, by Jan Bouterse
Comm 1989 Making Cents Out of Fretting Ratios and Vice Versa, by Dave Dolata
Comm 1990 The Ikhwan al-Safa Oud Revisited – Further to Comm. 1945 and some other thoughts, by John Downing
Comm 1991 Low Cost Infra Red 'X-ray' Imaging – a Useful Research Tool for Luthiers? - Part 1 by John Downing
Comm 1992 Low Cost Infra Red 'X-ray Imaging - Part 2, by John Downing
Comm 1993 Low Cost Infra Red 'X-ray' Imaging – Part 3 - Post Script, John Downing
Comm 1994 An Unusual Late 19th C. Syrian Oud – a Link to the 16th C Laux Maler Lutes? John Downing

Fomrhi Quarterly 123, February 2013

Comm 1983 A triangular spinet of unknown Italian maker, by Marco Tiella
Comm 1984 Scorched guitar soundboards and Mace, comment on Comm 1973, by John Downing
Comm 1985 Annual ring orientation, speed of sound, and multiple-piece oud soundboards, by John Downing
Comm 1986 Dowland’s lute tuning, and other ancient methods, including Gerle’s, by Chris Coakley
Comm 1987 Orpharion and cittern fret analysis and other ancient tunings including baroque lutes, by Chris Coakley

Quarterly No. 122, October 2012

Comm 1971 Corrections to Comm. 1963 – scorched guitar soundboards? by John Downing
Comm 1972 Research note: imported lutes in the 15th century, by Chris Pickvance
Comm 1973 Comment on Comm. 1963 ‘Scorched guitar soundboards?’ by Martyn Hodgson
Comm 1974 A geometrical analysis of an old Syrian oud, by John Downing
Comm 1975 Some early 20th C gut and silk oud strings, an inspection report John Downing
Comm 1976 Further to Comm. 1969 – early evidence for the use of double frets and a list of their advantages over single frets, by Martyn Hodgson
Comm 1977 Pillow talk, by David Z Crookes
Comm 1978 On lutes and cases, by David Z Crookes
Comm 1979 Gut, gunge and gurus, by David Z Crookes
Comm 1980 It all began in Belfast, by David Z Crookes
Comm 1981 The four-string lyre, by David Z Crookes
Comm 1982 Dutch bassoons and rackets, by Jan Bouterse

Fomrhi Quarterly 121, May 2012

Comm 1960 The authenticity of colours, by Susanne Heinrich
Comm 1961 Albrecht Dürer and the Shape of a Lute – Egg or Ellipse? by John Downing
Comm 1962 Comm 1956 and the 'Ambassadors' Lute some Observations and Comment, John Downing
Comm 1963 Scorched Guitar Soundboards? by John Downing
Comm 1964 A few common-sense expedients for players and makers. How should you constitute an early music consort of thirty players? David Z Crookes
Comm 1965 A decorous text for ‘Watkins Ale’ by David Z Crookes
Comm 1966 Castaldi’s Practice Room: Onomatopoeic Echoes (after Comms 1932, 1947) by David Dolata
Comm 1967 The Ashmolean festoon bass viol reconsidered, by Thomas Munck
Comm 1968 The organ and the organistrum, plus a possible key mechanism of the box symphony, by Ephraim Segerman
Comm 1969 The lute and the case for double frets, by Tim Watson
Comm 1970 Buffalo horn, a versatile, carbon neutral material, by Eric Franklin

Quarterly No. 120, October 2011

Comm 1953 Reports of woodwind instruments in Dutch sale catalogues and inventories between 1700 and c.1800 by Jan Bouterse
Comm 1954 An old list of gut string specimens by Marco Tiella
Comm 1955 European music in Japan in the 16th and 17th centuries by David van Ooijen
Comm 1956 The dangers of trusting iconography by Tim Watson
Comm 1957 A Japanese vihuela spotted in China; footnote to Comm 1955 by David van Ooijen
Comm 1958 Obituary of a FoMRHI fellow: Ian Harwood MBE, 1931-2011 by Thea Abbott
Comm 1959 Meantone fretting, by John Catch

Quarterly No. 119, July 2011

Comm 1942 ‘Caveat Emptor’, some thoughts relating to Comms 1939 and 1941 by Eric Franklin
Comm 1943 Catgut, some comments by John Catch
Comm 1944 Napoleon and a seven-course oud by John Downing
Comm 1945 A mediaeval oud, Ikhwan al-Safa and the ‘Pythagoras of Ulm’ lute by John Downing
Comm 1946 Volumes of different kinds of double reeds by M. van der Most
Comm 1947 One more instance of musical onomataopoeia,further to Comm 1932 by Chris Goodwin
Comm 1948 The Brussels #0164 Oud case and 16th C lute case design by John Downing
Comm 1949 Pitch relativity in the renaissance and the sizes of fiddles and viols
by Ephraim Segerman
Comm 1950 A fixture for cutting windways on a metal-working lathe by Sid Jones
Comm 1951 The story of Giuseppe Fiorini – appeal for assistance by Roberto Regazzi
Comm 1952 The guitar and Praetorius’ finger by John Downing

Quarterly No. 118, April 2011

Comm 1929 Alto recorders by Bressan by Jan Bouterse
Comm 1930 Two unstuck bagpipe tenons by Julian Goodacre
Comm 1931 More on the dangers of combustion by Julian Goodacre and Chris Allen
Comm 1932 Tronc, tronc, tronc, preng, preng, preng: onomatapoeic words as an indication of the sound and playing technique of early stringed instruments by Chris Goodwin
Comm 1933 Sliding tubes by M. van der Most / L. van Assendelft
Comm 1934 Correction to Comm 1918, questions about curtal and bassoon by M. van der Most
Comm 1935 Ancient metrology, Ibn al-Tahhan and the Maler and Frei lutes, part 1 by John Downing
Comm 1936 part 2 by John Downing
Comm 1937 ‘Catgut’ revisited by John Downing
Comm 1938 A very useful tool by Peter Wynn
Comm 1939 The significance of the evidence of historical scholarship by E. Segerman
Comm 1940 Another look of the cetra in the Gubbio intarsia by E. Segerman
Comm 1941 Historical accuracy and the early music movement by E. Segerman

Quarterly No. 117, December 2010

Comm 1916 A geometrical analysis of an old Nahat oud by John Downing
Comm 1917 Silk strings – making sense of the historical data, part 1 by John Downing
Comm 1918 Questions about the origin of the curtal and the bassoon by M van der Most
Comm 1919 A comparison of oud and lute geometries – a 16th century lute by Giovane Hieber by John Downing
Comm 1920 Early clarinet iconography by Albert R. Rice
Comm 1921 A comparison of oud and lute geometries – the 17th century
‘Cleveland Tiorbino’ by John Downing 22
Comm 1922 Towards an affordable South African recorder by Sid Jones
Comm 1923 Workshop idea: shaped file, e.g. for cutting windways by Barry Lloyd
Comm 1924 Further to Comm. 1004, The Sorduen-Bas by Barry Lloyd
Comm 1925 Review: Stradivari by Stewart Pollens (C.U.P. 2010) by Ephraim Segerman
Comm 1926 Three Broadwood pianos spanning one decade by Chris Barlow
Comm 1927 Help needed regarding stuck bassoon tenons by David Rachor
Comm 1928 Danger of spontaneous combustion using linseed oil by Rick Damon

Quarterly No. 116, August 2010

Comm 1907 Lute pegs from Holbein’s Ambassadors Portrait by Eric Franklin
Comm 1908 Clarinets are older than you think: a reply to Comm 1092 by Uta Henning
Comm 1909 Early keyboards in Israel: reportage from the field, by Alexander Rosenblatt
Comm 1910 Bressan alto recorders: pitch and sound; and some tips to make a copy, by Jan Bouterse
Comm 1911 ‘Pythagoras of Ulm’ and the geometry of a 19th century oud, by John Downing
Comm 1912 Templates for grinding tools on a bench grinder, by M van der Most
Comm 1913 Hie Folget ein Welsche Tanz?, by John Downing
Comm 1914 A lute pet retrofit with ‘silver’ inlays, by John Downing
Comm 1915 An Italian harpsichord rebuilt as a tangent piano, by Marco Tiella

Quarterly No. 115, March 2010

Comm 1895 English Guitars in the Danish Music Museum, Copenhagen Additions to Comms 1876 and 1884 by Ture Bergstrom
Comm 1896 Design and construction of a multipurpose lute by Chris Coakley
Comm 1897 How big is a lute? The statistical evidence from hand sizes by Eric Franklin
Comm 1898 Five alto recorders by Bressan: windways and blocks by Jan Bouterse
Comm 1899 A renaissance piano? by Chris Barlow
Comm 1900 Reply to David Rachor’s Comm 1889 on adapting techniques to the material or not by Chris Barlow
Comm 1901 A keyboard instrument in a museum; a rebuilt Italian harpsichord in The Metropolitan Collection (NY): restoring a chain of events by Alexander Rosenblatt
Comm 1902 A clarinet from before when clarinets were invented? by Daniel Spicka
Comm 1903 On the gittern’s body change around 1500 by Ephraim Segerman
Comm 1904 The step between the top of the sides and the top of the neck by Ephraim Segerman
Comm 1905 Angled bowing by Ephraim Segerman
Comm 1906 Why it was the vihuela and not the lute in 16th century Spain by Ephraim Segerman

Quarterly No. 114, November 2009

Comm 1884 Additions to Comm 1876, some more English Guitars by Taro Takeuchi
Comm 1885 An Early Lute Construction Technique, further to Comm 1836 by John Downing
Comm 1886 A Keyboard Instrument in a Photograph; a reed organ in the house of German Clergy in Jerusalem by Alexander Rosenblatt
Comm 1887 Pinched notes by Peter Madge
Comm 1888 Home-made tools for lute building by Eric Franklin
Comm 1889 Bassoon Reed-Making: Adapting the reed making technique to the material or forcing the material to the reed making technique by David Rachor
Comm 1890 Inventing the Guihuela – a radical approach to instrument accessibility by Luke Emmet
Comm 1891 On an often misunderstood picture of a mediaeval fiddle by Ephraim Segerman
Comm 1892 The lost art of declamation in music performance by Ephraim Segerman
Comm 1893 What types of fiddles were the Charles XI Andrea Amati instruments when made? by Ephraim Segerman
Comm 1894 On late 18th century archcitterns by Ephraim Segerman

Quarterly No. 113, August 2009

Comm 1875 Lute peg shank taper John Downing
Comm 1874 More on making recorder blocks, comments on Comm. 1867, by Peter Madge
Comm 1875 Every musician an instrument maker, or Bach’s viola pomposa, by Fatima Lahham
Comm 1876 English guitar makers in 18th century Britain: a directory, by James Tyler
Comm 1877 A Wooden ocarina, by Jan Bouterse
Comm 1878 More on Young’s modulus, by Robert Cronin
Comm 1879 Another useful free online resource, by John Downing
Comm 1880 Recorder research: windway design, by Jan Bouterse
Comm 1881 Some thoughts on ‘reverse’ moderators in Austrian pianos at the end of the 18th century by Marco Tiella
Comm 1882 A keyboard instrument in a painting, by Alexander Roseblatt
Comm 1883 On lute sizes, by Ephraim Segerman

Quarterly No. 112, May 2009

Comm 1859 Errata in Comm. 1858 by Christopher Goodwin
Comm 1860 Mortua dolce cano – an answer to Comms 1848, 1849 by Peter Forrester
Comm 1861 Bouwerskontakt and its publications by Jan Bouterse
Comm 1862 Further to Comm 1854 on Fretting by John R. Catch
Comm 1863 David Hockney and ‘The Ambassadors’ lute by John Downing
Comm 1864 Oud or lute? – The Ambassadors lute seen from a computer’s perspective by John Downing
Comm 1865 A brief review of sound hole configuration in early ouds/lutes by John Downing
Comm 1866 Glue – more information from the Asiatic bowmakers by John Downing
Comm 1867 Making a recorder block by Jim Lymhan
Comm 1868 Supporting claims of kithara or lyre origin by Ephraim Segerman
Comm 1869 On the development of early music by Ephraim Segerman
Comm 1870 The tempos of common time as explained by Purcell by Ephraim Segerman
Comm 1871 A basic theory about string twist by Eprhaim Segerman
Comm 1872 The Young’s modulus made easy by Jean Louchet

Quarterly No. 111, February 2009

Comm 1835 Jan Steenbergen and his oboes by Jan Bouterse
Comm 1836 Observations on glue and an early lute construction technique by John Downing
Comm 1837 Thomas Stanesby Junior’s ‘True Concert Flute’ by Philippe Bolton
Comm 1838 Oil paintings of musical instruments – should we trust the Old Masters? by Julian Goodacre
Comm 1839 A method of fixing loose soundbars by Peter Bavington
Comm 1840 Mediaeval and Renaissance multiple tempo standards by Ephraim Segerman
Comm 1841 The earliest soundposts by Ephraim Segerman
Comm 1842 The historical basis of the modern early-music pitch standard of a’=415 Hz by Ephraim Segerman
Comm 1843 Notes on the symphony by Ephraim Segerman
Comm 1844 Some design considerations in making flattened lute backs by Ephraim Segerman
Comm 1845 Tromba Marina notes by Ian Allan
Comm 1846 Woodwinds dictionary online by Mona Lemmel
Comm 1847 For information: Diderot et d’Alembert, L’Encyclopedie – free! by John Downing
Comm 1848 ‘Mortua dolce cano’ – a question by John Downing
Comm 1849 Mortua dolce cano – two more instances by Chris Goodwin
Comm 1850 Further to Comm. 1818, the new Mary Rose fiddle bow by Jeremy Montagu
Comm 1851 Oud or lute? Comm. 1819 continued by John Downing
Comm 1852 Wood fit for a king – a case of mistaken identity?
Comm 1826 updated by John Downing
Comm 1853 Reply to Segerman’s Comm. 1830 by John Downing
Comm 1854 Reply to John Catch’s Comm 1827 on frets and temperaments Thomas Munck
Comm 1856 Re: Comms 1810 and 1815, Angled Bridges, Tapered Strings
Frets and Bars by Ephraim Segerman
Comm 1857 The lute in renaissance Spain: comment on Comm 1833 by Ander Arroitajauregi
Comm 1858 Review of Modern Clavichord Studies: De Clavicordio VIII by John Weston

Quarterly No. 110, November 2008

Comm 1815 On frets and barring; some useful ideas by David E McConnell
Comm 1816 Modifications to recorder blocks to improve sound production by Peter N Madge
Comm 1817 What is wrong with Vermeer’s guitar by Peter Forrester
Comm 1818 A new addition to the instruments of the Mary Rose by Jeremy Montagu
Comm 1819 Oud or lute? – a study by J Downing
Comm 1820 Some parallels in the ancestry of the viol and violin by Ephraim Segerman
Comm 1821 Notes on the polyphont by Ephraim Segerman
Comm 1822 The ‘English’ in English violette by Ephraim Segerman
Comm 1823 The identity of the lirone by Ephraim Segerman
Comm 1824 On the origins of the tuning peg and some early instrument names by E Segerman
Comm 1825 ‘Twined’ strings for clavichords by Peter Bavington
Comm 1826 Wood fit for a king? An investigation by J Downing
Comm 1827 Temperaments for gut-strung and gut-fretted instruments by John R Catch
Comm 1828 Reply to Hebbert’s Comm. 1803 on early bending method by Ephraim Segerman
Comm 1829 Reply to Peruffo’s Comm. 1804 on gut strings by Ephraim Segerman
Comm 1830 Reply to Downing’s Comm. 1805 on silk/catgut by Ephraim Segerman
Comm 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) by Ephraim Segerman
Comm 1832 Tapered lute strings and added mass by C J Coakley
Comm 1833 Review: A History of the Lute from Antiquity to the Renaissance
by Douglas Alton Smith (Lute Society of America, 2002) by Ephraim Segerman
Comm 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter
Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) by Jan Bouterse

Fomrhi Quarterly 109, August 2008

Comm 1808 Tuning temperaments for lutes by Chris Coakley
Comm 1809 Elasticity of lute strings by Chris Coakley
Comm 1810 Tapered lute strings, angled necks and bridges by Chris Coakley
Comm 1811 Acoustics of lute soundboards and bars by Chris Coakley
Comm 1812 Lute stability by Chris Coakley
Comm 1813 Further acoustics of lutes: bridge areas, minor bars, angles by Chris Coakley
Comm 1814 Lute sizes and optimum design by Chris Coakley

Fomrhi Quarterly 107, April 2002 / Quarterly 108, July 2002

Bulletin A virtual Sodi harpsichord by Lewis Jones
Bulletin Joint meeting with the Lute Society by Lewis Jones
Comm 1799 The Kloster Michaelstein Guitar and Cittern Symposium: a report by Peter Forrester
Comm 1800 Spreadsheet I & F (Ingerslev & Frobenius) calculation of organ pipe pitch by Ephraim Segerman
Comm 1801 More ancient varnish recipes. by Owen
Comm 1802 The clavisimbalum from the manuscript of Henri Arnaut de Zwolle, c. 1440: an update to 1765 by Rennoldson
Comm 1803 Bending vihuela ribs: a response to Ephraim Segerman's 1793 on Richard Coleman's 1753 by Hebbert
Comm 1804 Gut strings: further to 1683 by Mimmo Peruffo
Comm 1805 On Segerman's speculations on catgut, etc in 1791 by Robert Downing
Comm 1806 Some relationships involving string displacement by Ephraim Segerman
Comm 1807 An analysis of the bridge hole data on lutes in 1288 and 1350 by Ephraim Segerman

Fomrhi Quarterly 106, Jan 2002

Further to Comm 1751 (silkworms). [Bulletin] by Ian Harwood
Further to Comm 1751 (silkworms). [Bulletin] by Jeremy Montagu
Further to Comm 1765 (the clavisimbalum). [Bulletin] by Jeremy Montagu
Further to Comm 1785 (reviewing of published articles). [Bulletin] by Lewis Jones
The violino piffaro. [Bulletin] by Ephraim Segerman
Comm 1783 Progress report 2001 on the collection of historic musical instruments of the Edinburgh University by Arnold Myers
Comm 1784 Larigot 27, Août 2001, Larigot 28, Décembre 2001, Larigot Spécial XII, Avril 2001, Larigot Répertoire et Listing, Avril 2001. [Review] reviewer:Jeremy Montagu
Comm 1785 On the 'English scholarly tradition' expressed in Jeremy's 1761. by Ephraim Segerman
Comm 1786 Hornworking reference sources by Helen Leaf
Comm 1787 A Workeshoppe Restor'd - an attempt to recreate a North European string instrument maker's workshop of the late 16th Century (or the search for the lute makers donkey!). by Andrew Atkinson
Comm 1788 Harpsichord - to build or buy by Peter Foster
Comm 1789 My problems with traversos in a-440 Hz by Jan Bouterse
Comm 1790 High f on the baroque alto recorder (further to Comm 1742 and Comm 1749) by Philippe Bolton
Comm 1791 On Downing's speculations on catgut in Comm 1751 by Ephraim Segerman
Comm 1792 On Skeaping's fiddle reconstruction in Comm 1752 by Ephraim Segerman
Comm 1793 Comments on Coleman's Comm 1753 on rib bending by Ephraim Segerman
Comm 1794 The 'Angel in Green' Lyra - a response to Eph Segerman's observations on Comm 1792 by Joe Skeaping
Comm 1795 Further to Comm 1751 - Silkworm Gut and the Origins of the Minikin Lute String by John Downing
Comm 1796: Silk Strings? - Putting Another Spin on Interpretation of the Sources (Further to Comm 1767) by John Downing
Comm 1797 Translation of the tuning instructions in Girolamo Montesardo, 'Nuova inventione d'intavolatura per sonare li balletti sopra la chitarra spagniuola (Florence, 1606) by Monica Hall
Comm 1798 A few notes on Montesardo's 5-course guitar tuning by Ephraim Segerman

Fomrhi Quarterly 105, Oct 2001

[Bulletin] by Lewis Jones
Form for the submission of entries for the FoMRHI Directory of Suppliers to Musical Instrument Makers. [Bulletin] by Lewis Jones
Comm 1772 A brief response to Comm 1752 and Bull-103 by Jeremy Montagu
Comm 1773 The peoples organ - investigating the concertina by Joe Macneil
Comm 1774 A look at the mechanics of the vibration of the bowed bridge by Ephraim Segerman
Comm 1775 Measuring the elastic modulus of gut by Ephraim Segerman
Comm 1776 Tables in steps for close-wound strings by Ephraim Segerman
Comm 1777 Jerome of Moravia and the Tractatus de musica by Joe Skeaping
Comm 1778 Tuning and stringing medieval fiddles by Ephraim Segerman
Comm 1779 The anomalous size of the pardessus de viole by Ephraim Segerman
Comm 1780 Román Martinez Gayol. The aging process (in 'the Strad', vol 112, # 1335). [Review] reviewer: Ephraim Segerman
Comm 1781 A timeline of 18th century bassoon makers by Matthew Dart
Comm 1782: Early ud fretting systems described by Al-Kindi by Alice Margerum

Fomrhi Quarterly 104, July 2001

Delays in publication - an apology. [Bulletin] by Lewis Jones
Titles of FoMRHI s. [Bulletin] by Lewis Jones
Comm 1758 Bouwerskontakt Bouwbrief l00 and 101, my summaries by Charles Stroom
Comm 1759 F Delbanco. Posaunen und Trompeten - Geschicbte, Akustike, Spieltechnik. [Review] reviewer: Jeremy Montagu
Comm 1760 Andrew Ashbee, et al. The Viola da Gamba Society index of manuscripts containing consort music, vol 1. [Review] reviewer: Lewis Jones
Comm 1761 Response to Eph's (Segerman) response to Lewis's (Jones) Comm 1721 by Jeremy Montagu
Comm 1762 Irving and historical scholarship: a lesson for music historians by Ephraim Segerman
Comm 1763 Double chamfers by Alec V Loretto
Comm 1764 A synthetic finish for recorder bores by Andrew Colebrook
Comm 1765 The clavisimbalum from the manuscript of Arnaut de Zwolle, c. 1440 by Carl Rennoldson
Comm 1766 Some theory on pitch instability, inharmonicity and lowest pitch limits by Ephraim Segerman
Comm 1767 Response to Comm 1744 (strings of silk and other textiles) by Ephraim Segerman
Comm 1768 Stringing renaissance fiddles and rebecs by Ephraim Segerman
Comm 1769 Early sound posts and bass bars, by Ephraim Segerman
Comm 1770 17th century English viols by Ephraim Segerman
Comm 1771 Stress equilibrium and moisture content in gut and wood, by Ephraim Segerman

Fomrhi Quarterly 103, Apr 2001

FoMRHI Treasurer - a vacancy. [Bulletin] by Lewis Jones
Wood auction. [Bulletin] by Lewis Jones
Comm 1746 Progress report 2000 on the collection of historic musical instruments of the Edinburgh University by Anrold Myers
Comm 1747 Koen Vermeij. The Hubert Clavichord Data Book. [Review] reviewer: Lewis Jones
Comm 1748 Horn - several more toots by Julian Goodacre
Comm 1749 Comment on Comm 1742 by Alec V Loretto
Comm 1750 Comment on bulletin 102 by Alec V Loretto
Comm 1751 Catgut - Comm 1567 revisited by John Downing
Comm 1752 `An angel in green with a vielle' - a reconstruction by Joe Skeaping
Comm 1753 16th century rib bending by Richard Coleman
Comm 1754 More on the violino Piffaro by Steve Heavens
Comm 1755 About the history of the use of metal in violin strings by Ephraim Segerman
Comm 1756 The appoggiatura, early vocal style and instrument imitations by Ephraim Segerman
Comm 1757 When the neck length (nut to body) became 2/3 the body stop (neck to bridge) on violins and violas by Ephraim Segerman

Fomrhi Quarterly 102, Jan 2001

Horn working and personal safety by Leis Jones
Leipzig Instrument Museum is moving by Lewis Jones
National sound archive on-line catalogue by Lewis Jones
Renaissance recorder database by Lewis Jones
Textile strings by Lewis Jones
Apologies from Armitage
Loretto's windway broaching machine acquisition by David Armitage
Comm 1736: Larigot Spécial 11, Septembre 2000. Essai de classification alphabétique des facteurs, ouvriers, inventeurs, essayeurs, marchands, ... français d'instruments à vent, 1re partie A-L. [no valid category requested] author: Montagu
Comm 1737 Bouwerskontakt Bouwbrief 99, my summary by Charles Stroom
Comm 1738 Acquisitions of the Kenneth G. Fiske Museum, 1999-2000 by Albert Rice
Comm 1739 Early pianos in Pennsylvania by Michael Cole
Comm 1740 Tuning recorders by modifying the bore by Alec V Loretto
Comm 1741 Recorder dynamics (Dolmetsch, Breuking)by Alec V Loretto
Comm 1742 Top f in a treble recorder by Angus Robertson
Comm 1743 Some evidence from an old violin by Dmitry Badiarov
Comm 1744 Strings of silk and other textiles by Alexander Rakov
Comm 1745 Oriental colour and atmosphere: why exotic colour became prominent in 19th and early 20th century orchestration by Jonathan Little

Fomrhi Quarterly 101, Oct 2000

Nuts and Bolts comms by Lewis Jones
Restoration and repair by Lewis Jones, David Armitage
Comm 1727 The Renaissance Workshop Company Ltd. Ottavino spinet; plan and construction manual by Lewis Jones
Comm 1728 Bernard Brauchli, ed. De clavicordio III: proceedings of the international clavichord symposium, Magnano, Italy 23-28 September 1997 by Lewis Jones
Comm 1729 Bouwerskontakt Bouwbrief 96-98, my summary by Charles Stroom
Comm 1730 Museum report (St Annen Museum, Lübeck; Schloss Sonderhausen; Museum der Universität, Leipzig; Händel Haus Museum, Halle) by M Dart
Comm 1731 An improved wooden bodied bore reamer by Clive Catterall
Comm 1732 Pythagoras vs Euclid (in Arnaut's Clavisimbalum) by Chris Barlow
Comm 1733 The Clavisimbalum of Henri Arnaut de Zwolle by Chris Barlow
Comm 1734 Horn working Nuts and Bolts; selecting raw material by Helen Leaf
Comm 1735 Further to Comm 1721, Some brief thoughts about the future of FoMRHI by Ephraim Segerman
Comm 1736 A late 16th century French picture with instruments, by Ephraim Segerman
Comm 1737 Further to Comm 1723, English usage in publications; knowledge, belief, catlins, and a response. author by Ephraim Segerman
Comm 1738 David Boyden. `Monteverdi's violini piccoli alla Francese' and `Viole da brazzo' in Annales Musicologiques VI by Ephraim Segerman
Comm 1739 The Hieronymus Albrecht Hass clavichord in the Bate Collection of Historical Instruments, Faculty of Music, University of Oxford; restoration report by Lewis Jones

Fomrhi Quarterly 100, July 2000

Peterson strobe tuners
The Hon.Sec. & Hon.Ed. & Hon.Treas.
Further on Praetorius's pitch, by Ephraim Segerman
Comm 1711 Arnold Myers, ed. Catalogue of historic musical instruments in the Edinburgh University Collection: vol 2Aiii (Peter Cooke) Percussion instruments of regional cultures worldwide, 1998 by Jeremy Montagu
Comm 1712: Florence Gétrau, ed. Revue française d'organologie et d'iconographie musicale, no 4, 1999, musique - -images - instruments, by Jeremy Montagu
Comm 1713 David Fallows. Embellishment and Urtext in the 15th century song repertories (in Basler Jahrbuch für Historische Musikpraxis XIV (1990) by Ephraim Segerman
Comm 1714 Marco Tiella, tr. Il pianoforte di G.F. Sievers (English translation) by Michael Cole
Comm 1715 Trute pianos by Michael Cole
Comm 1716 The design of an early Italian harpsichord at the RCM by Denzil Wraight
Comm 1717 Arnaut's Clavisimbalum mechanisms by Denzil Wraight
Comm 1718 How were the earliest viols played by Eprhaim Segerman
Comm 1719 On Francesco Sgargi's book by Marco Tiella
Comm 1720 Some old Italian units of measurements by Marco Tiella
Comm 1721 Some brief thoughts about the future of FoMRHI by Lewis Jones
Comm 1722 Filing FoMRHI Quarterlies by David L Smith
Comm 1723 English usage in publications by Jonathan Catch
Comm 1724 Pitch of electrical appliances - comments on Comm 1706 by Jon Swayne
Comm 1725 Decoration and its current use by Ephraim Segerman
Comm 1726 Why want to hear what it sounds like by Ephraim Segerman

Fomrhi Quarterly 99, Apr 2000

further to Comm 1681 1st `Diego Fernandez' International Symposium on the Spanish Harpsichord
Consensus scholars and scholarly debate by Ephraim Segerman
Comm 1700 Larigot 25, Mars 2000, ACIMV by Jeremy Montagu
Comm 1701 F Ingerslev, W Frobenius. Some measurements of the end correction and acoustic spectra of cylindrical open flue pipes by Ephraim Segerman
Comm 1702 More on iconography by Marco Tiella
Comm 1703 Comment on Comm 1686 (the Early Music Journal) by Alec V Loretto
Comm 1704 Further to Comm 1686 (the Early Music Journal) - and this you should read by Jeremy Montagu
Comm 1705 Removing and replacing recorder blocks by Alec V Loretto
Comm 1706 Pitch of electrical appliances by Alec V Loretto
Comm 1707 Musical instruments evocative of the ancient orient by Jonathan Little
Comm 1708 Copies of Polish stringed instruments found in archeological digs by Tadeusz Czechak
Comm 1709 `Mysteries' about early bowed instruments by Ephraim Segerman
Comm 1710 A question of certainty - use of wound strings around 1700 - restoration Comm 1697 by Ephraim Segerman

Fomrhi Quarterly 98, Jan 2000

addition to Comm 1588
further to Comm 1650
Geschichte, Bauweise und Spieltechnik der tiefen Streichinstrumente (symposium).
Symposium on bowed string musical instruments.
Fairness, non-judgementalism, objectivity and understanding by Ephraim Segerman
further to Comm 1667 (wood stabilisation)by Eprhaim Segerman
further to Comm 1674 (neck tilts)by Ephraim Segerman
Praetorius's pitchm, by Ephraim Segerman
Comm 1677 Larigot 24, Décembre 1999, ACIMV by Jeremy Montagu
Comm 1678 Martha Novak Clinkscale. Makers of the piano 1820-1860 by Michael Cole
Comm 1679 CD, two upon a ground; 17th century English instrumental music performed by Charivari Agréable by Steve Heavens
Comm 1680 Bouwerskontakt Bouwbrief 95, my summary by Charles Stroom
Comm 1681 J Milnes, ed. The British violin - historical aspects of violin and bow making in the British Isles by Ephraim Segerman
Comm 1682 Karel Moens. Problems of authenticity of 16th century stringed instruments, by Ephraim Segerman
Comm 1683 Mimmo Peruffo. Italian violin strings, Recercare IX (1997) by Ephraim Segerman
Comm 1684 George Lane. The trombone, an annotated bibliography by Arnold Myers
Comm 1685 Musical millenium memoirs by Alec V Loretto
Comm 1686 I am not sure you ought to read this (on the Early Music Journal) by Jeremy Montagu
Comm 1687 News from the MFA (Museum of Fina Arts, Boston) by Darcy Kuronen
Comm 1688 Molto stuccato by G Lyndon-Jones
Comm 1689 Postscript to Comm 1673 on the sistrum and how to make one by Jonathan Little
Comm 1690 On Western travellers who described and drew inspiration from Eastern instruments and music, ca 1830-1850 by Jonathan Little
Comm 1691 A Roman mouthpiece in England by Roy Chiverton
Comm 1692 Making Italian roses by Denzil Wraight
Comm 1693 Ways of treating wood by David Owen
Comm 1694 About an unusual method for stabilizing wood by Marco Tiella
Comm 1695 A theologian's specific for happy musicology, by John R Catch
Comm 1696 A question of evidence by John R Catch
Comm 1697 Further to Comm 1655, the Sisters and Irish double harps by John Downing
Comm 1698 Modern lute stringing and beliefs about gut by Ephraim Segerman
Comm 1699 Tinctoris and depictions of 15th century fiddles by Ephraim Segerman

Fomrhi Quarterly 97, Oct 1999

drawings available on webpage of Ture Bergstrøm.
Jeremy Montagu announces resignment.
Ephraim Segerman announces resignment.
New address of the Center for Musical Iconography, Paris, Florence Gétreau
Praetorius's mandora by Ephraim Segerman
Tolbeque's name for small-size violins by Ephraim Segerman
Comm 1661 Musica instrumentalis, Zeitschrift für Organologie, Ausgabe 1, 1998 by Jeremy Montagu
Comm 1662 Eric Montbel, Florence Gétreau, ed. Exhibition catalogue, `Souffler c'est jouer; Chabretaires et cornemuses à miroirs en Limousin' by Jeremy Montagu
Comm 1663 L'arco, the multimedia guide for discovering the secrets of the bow (CD-ROM)by Steve Heavens
Comm 1664 Bouwerskontakt Bouwbrief 94, my summary, by Charles Stroom
Comm 1665 Priorities of words and music by R White
Comm 1666 Collections and museums: it is all in the name, or not by Jan Bouterse
Comm 1667 An unusual method for stabilising wood Donald S Gill
Comm 1668 Charles Trute pianos - appeal for information, Michael Cole
Comm 1669 `Bestes kleines Clavier' (clavichord congress Italy 1999) Ute Henning
Comm 1670 Basic accountancy in organ pipe history by Ephraim Segerman
Comm 1671 Instrument history and 16th century English choir boys by Ephraim Segerman
Comm 1672 Virgiliano on instruments and transpositions by Ephraim Segerman
Comm 1673 The sistrum and how to make one, by Jonathan Little
Comm 1674 The intentional sideway tilting of (violin) necks by Mark M Smith
Comm 1675 Tensions and diameters of early viol strings by Eprhaim Segerman
Comm 1676 Stringing of the baroque guitar in the 18th century by Ephraim Segerman

Fomrhi Quarterly 96, July 1999

NEMA Early Baroque Conference.
Newly available earliest evidence on the invention of strings wound with wire by Eprhaim Segerman
Comm 1635 Ira Schultze-Ardey. Die Geschichte der Klavierbaufamilie Kaim aus Kirchheim unter Teck by Michael Cole
Comm 1636 Richard Maunder. Keyboard instruments in 18th century Vienna by Michael Cole
Comm 1637 Michael Cole. The pianoforte in the Classical Era by Richard Maunder
Comm 1638 Christiane Reicher, ed. Kielinstrumente aus der Werkstatt Ruckers - zu Konception, Bauweise und Ravelement sowie Restaurierung und Konservierung, etc., etc by Jeremy Montagu
Comm 1639 Arnold Power, ed. TRAVERSO - the first ten years by Philip Bate
Comm 1640 Thomas Sherwood. Starting the early bassoon by Graham Lyndon-Jones
Comm 1641 Larigot 22, Décembre 1998, ACIMV by Jeremy Montagu
Comm 1642 Larigot Spécial 10, Avril 1999. Catalogue des instruments de musique de la Manufacture Génerale de Gautrot Ainé & Cie by Jeremy Montagu
Comm 1643 E Ridley, E Wells, ed. Royal College of Music Museum of Instruments Catalogue Part 1a - Addenda by Jeremy Montagu
Comm 1644 Brian Harvey, Carla Shapreau. Violin fraud: deception, forgery, theft, and the law, 2nd ed. by Jeremy Montagu
Comm 1645 Rudolf Hopfner. Streichbogen (Katalog der Sammlungen alter Musikinstrumente und Sammlungen der Gesellschaft de Musikfreunde in Wien, by Steve Heavens
Comm 1646 Bouwerskontakt Bouwbrief 93, my summary by Charles Stroom
Comm 1647 Had we but world enough and time - a rejoinder to Eph Segerman's remarks in Q-95 by Christopher Goodwin
Comm 1648 Minimalism in historical scholarship by Ephraim Segerman
Comm 1649 Notes on transposition by Ephraim Segerman
Comm 1650 The silent whistle by Graham Lyndon-Jones
Comm 1651 French fingerings - in the Cotswolds (the pipe and tabor and Joseph Powell) by Graham Lyndon-Jones
Comm 1652 Pipe and tablature by Graham Lyndon-Jones
Comm 1653 Half holing the tabor pipe by Graham Lyndon-Jones
Comm 1654 The big ones (pipe and tabor) by Graham Lyndon-Jones
Comm 1655 Irish harp tuning and The Sisters by John Downing
Comm 1656 Further to Comm 1615 (A low tech casting method) by John Downing
Comm 1657 Further on the pitch ranges of gut strings (further to Comm 1545) by Ephraim Segerman
Comm 1658 A bit more on early fiddle tunings and sizes by Ephraim Segerman
Comm 1659 The early development of 16th century viols by Ephraim Segerman
Comm 1660 The tuning of viols in sets, and their sizes by Ephraim Segerman

Fomrhi Quarterly 95, Apr 1999

Further to Comm 1615 (casting mouthpieces)
Technical drawings of Musical Instruments, Museum of Fine Arts, Boston.
A stringing for an Irish harp by Ephraim Segerman
Opinions about history and historical evidence by Ephraim Segerman
Reactionary attitudes to music history and a new historical scholarship by Ephraim Segerman
Comm 1622 Jeremy & Gwen Montagu. Minstrels & Angels, by Ephraim Segerman
Comm 1623 Bouwerskontakt Bouwbrief 92, my summary by Charles Stroom
Comm 1624 Period instrument performance in the Czech republic by David Freeman
Comm 1625 Musical instrument cases by Alec V Loretto
Comm 1626 Direct access to medieval sounds in 1999 by Bernhard Folkestad
Comm 1627 The real diameter of shell augers by Gerhard Pöllitsch
Comm 1628 A recently discovered traverso by I.W. Oberlender Senior, by Jan Bouterse
Comm 1629 Modern harpsichord plectra, by R K Lee
Comm 1630 Violin neck; the changes from baroque to modern, by Dmitry Badiarov
Comm 1631 Response to Comm 1619 - Smith on Talbot's bass violin, by Ephraim Segerman
Comm 1632 Response to Comm 1620 - Smith on fiddle iconography by Ephraim Segerman
Comm 1633 Multiple string bowing in the Renaissance by Ephraim Segerman
Comm 1633a: Origin of the English name `violin' and more on the 16th century lirone by Ephraim Segerman

Fomrhi Quarterly 94, Jan 1999

Further to Comm 1602 (Recorder research).
Further to Eph's (Segerman) Bulletin supplement (Q-93).
4th Broadwood harpsichord competition, Fenton House, 1999.
Comm 1610 Florence Gétreau, ed. Musique - Images - Instruments, #3, 1997 by Jeremy Montagu
Comm 1611 Larigot 19 Spécial, Septembre 1998, ACIMV by Jeremy Montagu
Comm 1612 Symbolism in Emblem books by Marco Tiella
Comm 1613 Mistreatment of instruments by Alec V Loretto
Comm 1614 Tin horns again (further to Comm 1587) by John Downing
Comm 1615 A low tech casting method by John Downing
Comm 1616 Comments on Comm 1600 (the historical bassoon reed gouge, and further) by Jacques Leguy
Comm 1617 Working GPS plastics by Donald Gill
Comm 1618 Technical drawings of musical instruments on the Internet by Ture Bergstrøm.
Comm 1619 The bass violin in the Talbot manuscript by Mark M Smith
Comm 1620 On using iconography for bridge positions by Mark M Smith
Comm 1621 Curving a fingerboard to improve the action by Ephraim Segerman

Fomrhi Quarterly 93, Oct 1998

Center for the study of free-reed instruments of the City University of New York.
FoMRHI History.
Foundation of the Gesellschaft der Freunde der Wiener Oboe.
Odilia Publishing Ltd.: harps.
Sibelius, a computer program for writing music.
Source for artificial ivory.
Catline, catlin and catling by Ephraim Segerman
Facts and speculations people by Ephraim Segerman
On `nuts & bolts', further to Comm 1469 by Ephraim Segerman
On timpani, reply to Comm 1582 by Ephraim Segerman
Comm 1597 A working visit to the Mary Rose and the instruments found in her by Jeremy Montagu
Comm 1598 Charivari agréable: Two upon a Ground, SIG CD 007 by Jeremy Montagu
Comm 1599 About technological information in musical instrument iconography; reply to Comm 1571 by Marco Tiella
Comm 1600 Werkstätt der heutigen Künste of J.S. Halle: implications on the historical bassoon reed gouge by David Rachor
Comm 1601 The term 'transitional recorder' by Alec V Loretto
Comm 1602 Recorder research by Alec V Loretto
Comm 1603 Schmelzer's violino piffaro by Steve Heavens
Comm 1604 The tunings and sizes of the viole da braccio: a correction to Comm 1562 and new theoryby Ephraim Segerman
Comm 1605 French fiddles, the soundpost and the violino by Ephraim Segerman
Comm 1606 Peg fitting by Ephraim Segerman
Comm 1607 The changeable harpsichord by Christopher Stevens
Comm 1608 Keyboard instruments building in Abruzzo (central Italy); keyboard instrument making of the 19th century in Lanciano (Abruzzo, Italy) by Gianfranco Miscia and Marco Tiella
Comm 1609 The Cipollone fortepiano by Marco Tiella

Fomrhi Quarterly 92, Jul 1998

Comm 1572-¾ (hurdy-gurdies).
Further to Comm 1522 (Camwood).
Further to Comm 1569 (Steenbergen recorders).
Comm 1545 error correction.
Pitch standards and playing viols in the 16th century by Ephraim Segerman
Response to bass violin comments by Catch in Comm 1574 by Ephraim
Soundboard wood imported to England by Ephraim Segerman
Comm 1577 Harpa no.28, spring 1998 by Jeremy Montagu
Comm 1578 Larigot 21, ACIMV by Jeremy Montagu
Comm 1579 David Lasocki with Roger Prior. The Bassanos, 288 pp. by Jeremy Montagu
Comm 1580 The handling of source errors in scholarship by Ephraim Segerman
Comm 1581 Henry VIII's 1542 and 1547 inventories by Graham Lyndon-Jones
Comm 1582 Being fair to evidence in scholarship by Jeremy Montagu
Comm 1583 Dr Robert Smith's 1748 keyboard tunings by K Mobbs and A Mackenzie of Ord
Comm 1584 A case for the `Ganassi Recorder' in Vienna by Graham Lyndon-Jones
Comm 1585 Recorder fingerings in print by Alec V Loretto
Comm 1586 Long and short recorder feet by Alec V Loretto
Comm 1587 Tinplate instruments- further to Comm 1568 by Jeremy Montagu
Comm 1588 As like as two peas by Jeremy Montagu
Comm 1589 `What say you, Simon Catlin?' by John Catch
Comm 1590 Late 17th century English bass violins, and catlin highest pitches by Eph Segerman
Comm 1591 Catch non-view on the construction of catlins by Ephraim Segerman
Comm 1592 The size of the English 12-course lute by Ephraim Segerman
Comm 1593 Praetorius's plucked instruments and their strings by Ephraim Segerman
Comm 1594 On the early violin bridge position by Dmitry Badiarov
Comm 1595 Historical varnishes and colour of the bowed instruments in paintings by Dmitry Badiarov
Comm 1596 44 historical varnishes and polishes by Dmitry Badiarov

Fomrhi Quarterly 91, Apr 1998

Further to Comm 1535 (Swedish clavichords).
Further to Comm 1549 (ethnomusicology)
Further to Comm 1553 (antique brass instruments).
Alto recorder Steenbergen Groninger Museum (in Comm 1569) by Jan Bouterse
Being fair to evidence in scholarship by Ephraim Segerman
Further to Comm 1561 (Cremona secret)by Ephraim Segerman
Good players then and now by Ephraim Segerman
Indexes by Ephraim Segerman
On the use of timpani by 17th century composers by Ephraim Segerman
Leicester Early Music Festival 1998 by John Bence
Morley clavichord No. 213 by John Bence
Progress report 1997 on the collection of historic musical instruments of the Edinburgh University by Arnold Myers
Comm 1565 Christopher Page. Music and instruments of the Middle Ages; studies on text and performance by Jeremy Montagu
Comm 1566 Robert Barclay, ed. The care of historic musical instruments by Jeremy Montagu
Comm 1567 Pepys's minikin by John Downing
Comm 1568 Blowhorns of 19th century North America by John Downing
Comm 1569 The alto recorders of Steenbergen by Jan Bouterse
Comm 1570 Catajo and Ganassi - an Italian castle and a flauto dolce by Alec V Loretto
Comm 1571 On the information of musical iconography: reply to C-1551 by Ephraim Segerman
Comm 1572 Announcements: miscellany on pre-18th century hurdy gurdies by Ephraim Segerman
Comm 1573 Some tangential observations about hurdy gurdies (further to C-1559) by Julian Goodacre
Comm 1574 Elia foreshadows C-1557 (on catlins)by John Catch
Comm 1575 Ruminations on original methods of constructing English viols by Ephraim Segerman
Comm 1576 Violins, citterns and viols in the Edinburgh `A.S.' manuscript by Ephraim Segerman

Fomrhi Quarterly 90, Jan 1998

the 1710 Michael Mietke single harpsichord in Hudiksval, Sweden (in Supplement). Fomrhi Website by Ephraim Segerman
On Comm 1535, review of a clavichord CD by Ephraim Segerman
Comm 1546: Trevor Herbert, John Wallace. The Cambridge companion to brass instruments by Jeremy Montagu
Comm 1547 Larigot, Bulletin de l'association des collectionneurs d'instruments à vent. VII spécial (April 1997) & no.20, Sept 1997 by Jeremy Montagu
Comm 1548 James Beament. The violin explained - components mechanism and sound by Ephraim Segerman
Comm 1549 Jeremy Montagu. The magpie in ethnomusicology by Ephraim Segerman
Comm 1550 More on draw plates; response to Peter Forrester's Comm 1469 by Dmitry Badiarov
Comm 1551 On musical iconography by Marco Tiella
Comm 1552 The inventory of the musical instruments of Michael Charles by Jan Bouterse
Comm 1557 Reply to Comm 1544 on catlines by Ephraim Segerman
Comm 1558 Forqueray's strings and 18th century wound string sound by Ephraim Segerman
Comm 1559 Reply to Comm 1542 (cotton between the hurdy-gurdy wheel and string)by Paul Baker
Comm 1560 On the lira da bracio and lirone project by Ephraim Segerman
Comm 1561 The Cremona secret of violins. author: Aristotel Gheorgio
Comm 1562 The early violino and the viole da bracio family by Ephraim Segerman
Comm 1563 Experimental work on clavichord action by John Barnes
Comm 1564 On the tangent string interaction on a clavichord: reply to Comm 1563 by Ephraim Segerman

Fomrhi Quarterly 89, Oct 1997

Recorder fingerings by Jan Bouterse
Further to Comm 1528 (mathematics of tuning up a string)
The burn marks on the insides of surviving English viol soundboards.
Were early open-wound strings tigerlines?
Clarinets by Koch by M Perini
Lyra da braccio and Lirone project by I Pomykalo
Music and Technology Research Seminar; 1997-1998 by Lewis Jones
Comm 1534 Philip Young. Woodwind instruments in the Oberösterreichisches Landesmuseum, Linz by Jeremy Montagu
Comm 1535 Swedish clavichords - Mikko Korhonen plays instant music by Jeremy Montagu
Comm 1536 Hardening and tempering tool steel by Rod Jenkins
Comm 1537 The Pipe and Tabor is alive and well and living in Euskadi by Jeremy Montagu
Comm 1538 The Bolhuis auction (1764) of musical woodwind instruments by Jan Bouterse
Comm 1539 The Selhof auction (1759) of musical woodwind instruments by Jan Bouterse
Comm 1540 Recorder voicing by Alec V Loretto
Comm 1541 What happens when and after the clavichord tangent hits the string by Eph Segerman
Comm 1542 The purpose of cotton between the hurdy-gurdy wheel and string by Eph Segerman
Comm 1543 Origins of the `guitarra portuguesa' by Ephraim Segerman
Comm 1544 An amendment to Comm 1203 by John Catch
Comm 1545 On Praetorius and the sizes of Renaissance bowed instruments by Ephraim Segerman

Fomrhi Quarterly 88, July 1997

Further to Comm 1457 (Paris museums) by Paul Hailperin
Further to Comm 1485 and Comm 1507 (dividing a circle) by Steve Heavens
Christina Visconti in focus (further to Comm 1518) by Ephraim Segerman
Tricks in calculating equivalent diameters of unusual wound strings by Ephraim Segerman
What about the history of tempo standards by Ephraim Segerman
Comm 1521 West Dean College 10 day instrument making course by Yvonne Segerman
Comm 1522 Warning against the Camwood firm by Paul Hailperin
Comm 1523 Is evidence to be explained or just accumulated? Reply to Comm 1516 by Eph Segerman
Comm 1524 Parchment roses for harpsichords by John Rawson
Comm 1525 Harpsichord and `Buntpapier' by Rudolph and Uta Henning
Comm 1526 About Neupert harpsichord technology in the 30's by Marco Tiella
Comm 1527 In search of the well tuned clavier - II by R K Lee
Comm 1528 The mathematics of tuning up a string by Ephraim Segerman
Comm 1529 A short history of the names `gittern' and `cittern'; reply to Comm 1514 by Ephraim Segerman
Comm 1530 Citt/Gitt (cittern and gittern) again by Jeremy Montagu
Comm 1531 More on the English guitar and speculations on its origin by Ephraim Segerman
Comm 1532 Explanations of ways in which wood absorbs sound vibrations by Ephraim Segerman
Comm 1533 The dimensions of windings on a traditional wound string by Ephraim Segerman

Fomrhi Quarterly 87, Apr 1997

A DIY make of gut lute strings by Ephraim Segerman
CD-RoM museum pictures by Ephraim Segerman
Cittern controversy by Ephraim Segerman
The `renaissance' guitar by Ephraim Segerman
Comm 1502 ACB, Anthony Baines, 1912-1997 by Jeremy Montagu
Comm 1503 Florence Gétrau. Aux origines du musée de la musique: les collections instrumentales du Conservatoire de Paris, 1793-1993 by Jeremy Montagu
Comm 1504 Thomas Lerch. Vergleichende Untersuchung von Bohrungprofilen historischer Blockflöten des Barock (Comparative research of bore profile of historical baroque recorders)by Jan Bouterse
Comm 1505 Goodacre's razor and undercutting woodwind finger holes by Paul Hailperin
Comm 1506 Response to Comm 1500 (recorder patents)by Alec V Loretto
Comm 1507 Response to Messrs Heavens and Segerman (Comm 1485)by Alec V Loretto
Comm 1508 Recorder window size by Alec V Loretto
Comm 1509 Trust but don't believe what you see in pictures by Ephraim Segerman
Comm 1510 Chaos, fractals and musical instrument acoustics by Ephraim Segerman
Comm 1511 A correction and simplification for Comm 1493 (frequency calculations)by Ephraim Segerman
Comm 1512 Scaling harpsichords soundboards by Barry Lloyd
Comm 1513 Instruments in 18th century Canada and a string maker of New France by John Downing
Comm 1514 Citt/Gitt by Jeremy Montagu
Comm 1515 Parchment roses in citterns, lute, baroque guitars and harpsichords by Ed van Weerd
Comm 1516 Response to Comm 1498 (cithrinchen stringing) by Donald Gill
Comm 1517 Semitone step calculations in stringing by Ephraim Segerman
Comm 1518 Stradivari `cello' strings and bass viols by Ephraim Segerman
Comm 1519 Thick gut string, playing harmonics and stopping in mid air by Ephraim Segerman
Comm 1520 Some earlyish cello string information by Ephraim Segerman

Fomrhi Quarterly 86, Jan 1997

Further to Comm 1485 by Steve Heavens
Further again to Comm 1485 by Ephraim Segerman
Further to Comm 1490 by Ephraim Segerman
Comm 1487 Art Brownlow. The last trumpet - a history of the English slide trumpet by Jeremy Montagu
Comm 1488 Larigot, Bulletin de l'association des collectionneurs d'instruments à vent. VI spécial by Jeremy Montagu
Comm 1489 Pitch standards in northern Italy by Ephraim Segerman
Comm 1490 The musical instrument - an oscillating system affected by high internal stresses by Emil Weiss
Comm 1491 Leicester Early Music Festival 1997 by John Bence
Comm 1492 Violin research 15 years ago by Ephraim Segerman
Comm 1493 On the (frequency) calculations in C-1480 by Lee, by Ephraim Segerman
Comm 1494 Mersenne's iron and Ruckers 6 foot pitch by Ephraim Segerman
Comm 1495 Harpsichords and `Buntpapier' by Martin Pühringer
Comm 1496 Segerman, Godwin, Fludd, and the English cittern by Peter Forrester
Comm 1497 Reply to Forrester's Comm 1481 (on English citterns) by Ephraim Segerman
Comm 1498 Response to Comm 1482 and the Wensler G30 cithrinchen stringing by Ephraim Segerman
Comm 1499 A provisional list of quinticlaves (alto ophicleides) in Europe and the United States by Mark Jones, Arnold Myers, Abert R Rice
Comm 1500 Comments to Comm 1486 (recorder patents) by Denis Thomas
Comm 1501 Four baroque recorders at Sotheby's, November 1996 (Beukers, Stanesby, Denner) by Jan Bouterse

Fomrhi Quarterly 85, Oct 1996

Response to Roy Chiverton's Comm 1464 by Ephraim Segerman
Sutton Hoo lyre by Ephraim Segerman
The English cittern in the 2nd quarter of the 17th century by Ephraim Segerman
Comm 1474 Johann George Tromlitz, Ardal Powell, tr & ed. The keyed flute by Jaap Frank
Comm 1475 Sumi Gunji et alii: The collection of musical instruments, Kunitachi College, Tokio, 2 vols, rev edition by Jeremy Montagu
Comm 1476 CD-ROM catalogue: Collection of paintings and sculptures, Wallraf-Richartz Museum, Cologne by Jeremy Montagu
Comm 1477 David Crombie. Piano: evolution, design and performance by Michael Cole
Comm 1478 Bernard Brauchli, ed. De clavicordio II: proceedings of the international clavichord symposium, Magnano, Italy 21-23 September 1995 by Kenneth Mobbs
Comm 1479 A response to Comm 1454 & Comm 1426 by R White
Comm 1480 In search of the well tuned clavier by R K Lee
Comm 1481 Some points raised by Ephraim Segerman's reply, Comm 1468, on English citterns by Peter Forrester
Comm 1482 A response to Comm 1445 & Comm 1468 by Donald Gill
Comm 1483 Vihuela string quality and thickness, and the Paris vihuela by Ephraim Segerman
Comm 1484 The changes from baroque to modern violins by Ephraim Segerman
Comm 1485 Dividing a circumference into five by Alec V Loretto
Comm 1486 Old recorders for new (recorder patents) by Paul Madgwick, Alec V Loretto

Fomrhi Quarterly 84, July 1996

A response to Comm 1439, claiming wood changes on playing in by Ephraim Segerman
Chiverton's Ockham by Ephraim Segerman
Praetorius's recorder pitch by Ephraim Segerman
Comm 1447 Field, Myers, ed. Catalogues of historic musical instruments in the Edinburgh University collection, vol 2-K (ancillary equipment) by Jeremy Montagu
Myers, Parks, ed. Catalogues of historic musical instruments in the Edinburgh University collection, vol 2-H iv&v (small and large mouthpieces for brass, by Jeremy Montagu.
Comm 1448 Larigot 17 (August 1995 & 18 (February 1996) by Jeremy Montagu
Comm 1449 Falcon Møller. Music aloft - musical symbolism in the mural paintings of Danish medieval churches by Jeremy Montagu
Comm 1450 Rose. Talks with bandsmen by Jeremy Montagu
Comm 1451 Monroe. Adding percussion to medieval and renaissance music by Jeremy Montagu
Comm 1452 Gétrau, ed. Instrumentistes et luthiers Parisiens, 17-18th siècles by Jeremy Montagu
Comm 1453 Montagu. Musical instruments of the Bible by Ephraim Segerman
Comm 1454 Reply to Comm 1426 on emotion imaged by music by Ephraim Segerman
Comm 1455 The `dying fall', Caccini's `Exclamation' and a sigh by Ephraim Segerman
Comm 1456 New Braille codes for some early music notations by Barbara Williams
Comm 1457 A visit to Paris and some of the museums there which have musical instruments by Jeremy Montagu
Comm 1458 Progress report 1995 on the collection of historic musical instruments of the Edinburgh University by Arnold Myers
Comm 1459 The Mary Rose shawm by Charles Forster
Comm 1460 Hautboy and other taxonomy - further to Comm 1429 by Jeremy Montagu
Comm 1461 Woodwind taxonomy by David Smith
Comm 1462 Long hole augers by Jon Swayne
Comm 1463 Reamers again (further to Comm 1435)by Roy Chiverton
Comm 1464 A bit more on mouthpieces by Roy Chiverton
Comm 1465 Referring to Comm 1433 on brass mouthpieces by Arnold Myers
Comm 1466 More on gut strings by Mimmo Peruffo
Comm 1467 Sinews: a search for improvement or an excuse for complacency by Ephraim Segerman
Comm 1468 Reply to Peter Forrester's Comm 1445 on English citterns by Ephraim Segerman
Comm 1469 Thicknessing by Peter Forrester
Comm 1470 More on the treatment of soundboards by C J Barlow
Comm 1471 Wood structure and what happened in the Hunt & Balsan experiment by Ephraim Segerman
Comm 1472 Models for sound improvement on playing in by Ephraim Segerman
Comm 1473 Making a silk `sunburst' for a cabinet piano by Kenneth and Mary Mobbs

Fomrhi Quarterly 83, Apr 1996

list, Muzeum Ceské Hudby, Praha.
list, new acquisitions at the Fiske Museum, Claremont, California, USA.
Comm 1424 Hide glue defended by Sean Rawnsley
Comm 1425 Hot hide glue defended by Peter Bavington
Comm 1426 Lieder ohne Worte: emotion imaged by music by R White
Comm 1427 Who was HIE.S: or HIER.S: or HIERO.S by Maggie Lyndon-Jones
Comm 1428 More thoughts on the Bassanos by Maggie Lyndon-Jones
Comm 1429 Hautboy taxonomy by Bruce Haynes
Comm 1430 Bell key acoustics by Denis Thomas
Comm 1431 Recorder woods - do they influence the sound by Alec V Loretto
Comm 1432 Estimation of original bore in old instruments by Donald Gill
Comm 1433 Brass mouthpieces by Roy Chiverton
Comm 1434 Chiverton's Ockham bang by Alec V Loretto
Comm 1435 More about reamers by Donald Gill
Comm 1436 Right angled reamers; addendum to Comm 1410 by Roy Chiverton
Comm 1437 How accurate and understandable are measurements of woodwind instruments by Jan Bouterse
Comm 1438 Historical evidence for stewing soundboard wood by Donald Gill
Comm 1439 Why old fiddles sound sweeter by D G Hunt, E Balsan
Comm 1440 Mace on overspun strings by Ephraim Segerman
Comm 1441 More on sinew fibre - a footnote to Comm 1394 by John Downing
Comm 1442 Sinew strings ... yet again by John Downing
Comm 1443 Caul veneering, by John Downing
Comm 1444 Making your own traditional purfling cutter by John Downing
Comm 1445 The cittern in consort by Peter Forrester
Comm 1446 Johann Socher's square piano of 1742 by Michael Cole

Fomrhi Quarterly 82, Jan 1996

Comm 1402: Boalch, Mould. Makers of the harpsichord and clavichord 1440-1840, 3rd ed by Michael Cole
Comm 1403 Pollens. The early pianoforte by Michael Cole
Comm 1404 Pollens. The early pianoforte by Jeremy Montagu
Comm 1405 Larigot, Bulletin de l'association des collectionneurs d'instruments à vent. IV & V spécial & no.16. by Jeremy Montagu
Comm 1406 Myers, ed. Historical musical instruments in the Edinburgh University collection (Cornets & Tubas, Oboes, Clarinets, Stringed instruments of regional cultures worldwide, Viols & violins) by Jeremy Montagu
Comm 1407 Cat(apult)lin(e)s by John Catch
Comm 1408 The auloi of Porphyrius: some thoughts about the differences in pitch between wider and narrower pipes of the same length by Jan Bouterse
Comm 1409 The Ganassi bell diameter by Alec V Loretto
Comm 1410 More reamers by Roy Chiverton
Comm 1411 Just a last(?) bang at Ockham (Occam) by Roy Chiverton
Comm 1412 Narrow long hole augers by Donald Gill
Comm 1413 The case against hot hide glue by Donald Gill
Comm 1414 On the expression of emotion in music by Ephraim Segerman
Comm 1415 Anti FoMRHI people in the lute world by Ephraim Segerman
Comm 1416 Some aspects of string technology bearing on sound quality by Ephraim Segerman
Comm 1417 More on gut strings by Mimmo Peruffo
Comm 1418 A power law in the stringing of instruments with varying string length by Ephraim Segerman
Comm 1419 On describing the body shapes of stringed instruments by Ephraim Segerman
Comm 1420 On the hair tension during bowing by Ephraim Segerman
Comm 1421 J.S. Bach's `Fiauti d'echo': recorders off-stage by Mark Smith
Comm 1422 The instruments of the consort by Ephraim Segerman
Comm 1423 Wood treatment to improve sound by Ephraim Segerman

Fomrhi Quartely 81, Oct 1995

Comm 1384 Obituary Len Stanners by David Smith
Comm 1385 Length standards from Stone's New Mathematical Dictionary, 1726 by John Cousen
Comm 1386 Philip Stubbes: anatomy of abuses, 1583 (music criticism)by John Cousen
Comm 1387 The music of psalm 117 (sequel to Comm 1378)by David Z Crookes
Comm 1388 On Stroom's Comm 1366 by Ephraim Segerman.
Comm 1389 An explanation to Comm 1370 by Alec V Loretto
Comm 1390 Bending wood for crummhorns by Helmut Buck
Comm 1391 Folding viol backs by David Van Edwards
Comm 1392 Another mouldy idea by David Van Edwards
Comm 1393 Gansar lute strings by John Downing
Comm 1394 Catapult cordage - part 1, manufacture and properties by John Downing
Comm 1395 Catapult cordage - part 2, more speculation by John Downing
Comm 1396 A correction to Comm 1362 by John Catch
Comm 1397 The `clearness' of early gut by Ephraim Segerman
Comm 1398 Pitch standards of early English organs - response to Comm 1383 by Ephraim Segerman
Comm 1399 Veneering with hot hide glue - response to Comm 1382 by John Rawson
Comm 1400 About `manacordo' and `sordino' by Marco Tiella
Comm 1401 Was the fortepiano built as a folk instrument by Marco Tiella

Fomrhi Quarterly 80, Jul 1995

Technical drawings of musical instruments on microfiche, MFF Publications.
Comm 1357 Sparks: The classical mandolin, 225 pp. by Jeremy Montagu
Comm 1358 Burnett: Seven Broadwoods; the evolution of an English piano by Jeremy Montagu
Comm 1359 Harvey: the violin family and its makers in the British isles; an illustrated history and directory. 448 pp. by Jeremy Montagu
Comm 1360 Brauchli, Brauchli, Galazzo, ed.: De clavicordo: proceedings of the international clavichord symposium, Magnano 9-11 Sept 1993 by Peter Bavington
Comm 1361 Dulcimers in public collections by Gillian M Alcock
Comm 1362 Martin Routh's razor (further to Comm 1350)by John Catch
Comm 1363 Response to Comm 1337 on wood science by Ephraim Segerman
Comm 1364 Response to Rawson's Comm 1339 by Ephraim Segerman
Comm 1365 On the upsetting power of Occam's razor by Ephraim Segerman
Comm 1366 Once more, scholarship and disputes (further to Comm 1335)by Charles Stroom
Comm 1367 Copyright, the status of FoMRHI and accuracy vt Charles Stroom
Comm 1368 David Lasocki's Ganassi controversy (reply to 1333) by Alec V Loretto
Comm 1369 William who, from where?? (on Occam) by Alec V Loretto
Comm 1370 Recorder writings by Alec V Loretto
Comm 1371 Praetorius's and surviving Nuremberg sackbut lengths and playing pitches by Ephraim Segerman
Comm 1372 On measuring the pitch of early wind instruments by Ephraim Segerman
Comm 1373 Mersenne's sackbut and pitch, plus playing with shawms by Ephraim Segerman
Comm 1374 Mersenne's pitch standard by Ephraim Segerman
Comm 1375 Undercutting small diameter finger holes on woodwind instruments: Goodacre's razor by Julian Goodacre
Comm 1376 Suppliers for Occam's razor by Julian Goodacre
Comm 1377 How to make a shelly hautbois by David Z Crookes
Comm 1378 Upon the harp with a solemn sound (sequel to Comm 1342)by David Z Crookes
Comm 1379 On some early 17th century discussions of gracing by Ephraim Segerman
Comm 1380 Robert Greenberg, an obituary by John Barnes
Comm 1381 Withdrawal of ascription by Robert Greenberg
Comm 1382 Some comments on veneering with hot glue by Margaret Hood
Comm 1383 The British ten foot organ by Martin Goetze

Fomrhi Quarterly 79, Apr 1995

Corrections to Comm 1316.
Further to Comm 1318.
Comm 1330 Katalin Komlós: Fortepianos and their music. 158 pp, by Martin Cole
Comm 1331 William Waterhouse: The new Langwill Index: a dictionary of musical wind instrument makers and inventors.
Comm 1332 Thoughts after the New Langwill, by David Smith
Comm 1333 A reply to Jeremy Montagu's review of Richard Griscomb & David Lasocki, the Recorder: a guide to writings about the instrument for players and researchers (Comm 1311), by David Lasocki
Comm 1334 About the difficulties of delivering a message and some replies to Comm 1314, by Peter Spohr
Comm 1335 On Stroom's Comm 1315 by Ephraim Segerman
Comm 1336 A revised hypothesis for the early music meaning of the word `Consort', by Ephraim Segerman
Comm 1337 Wood science, by James Beament
Comm 1338 Preserving passion and conviction: fend off the flaccid, by Paul White
Comm 1339 Where do we want to go, by John Rawson
Comm 1340 Progress report 1994 on the collection of historic musical instruments of the Edinburgh University and Arnold Myers
Comm 1341 British clavichord society at the open university, 11th March 1995, by Susan Alexander-Max
Comm 1342 The grounded staff (sequel to Comm 1326), by David Z Crookes
Comm 1343 Cutting thick veneers, by Donald Gill
Comm 1344 Cork substitute, by Donald Gill
Comm 1345 The inventor of the double-action pedal harp with fourchettes; Gröll versus Erard, by Mike Baldwin
Comm 1346 Restoration report of English spinet by Stephen Keene, London, 1704, by Robert Greenberg
Comm 1347 Reply to Comm 1329 on English organ pitches, by Ephraim Segerman
Comm 1348 Response to Chiverton's Comm 1322 on lute belly shapes, by Ephraim Segerman
Comm 1349 Simple design for lute rib shapes by Roy Chiverton
Comm 1350 German baroque lutes and overspun strings, by Mimmo Peruffo
Comm 1351 More on Ramelli, loaded gut strings and gansars, by Mimmo Peruffo
Comm 1352 More on roped strings and other knotty problems, by John Downing
Comm 1353 Determining the step size of a recorder, by Alec V Loretto
Comm 1354 Recorder bore measuring, by Alec V Loretto
Comm 1355 Recorder bore measuring, using modified telescopic bore gauges, by Alec V Loretto
Comm 1356 Resonans, a software program for developing new wind instruments, by Philippe Bolton

Fomrhi Quarterly 78, Jan 1995

Wood absorption (further to Comm 1227, Comm 1228, Comm 1285)
Comm 1310 The Hoogsteder Exhibition of Music & Painting in the Golden Age.
Comm 1311 Griscomb & Lasocki: The recorder - a guide to writings about the instrument for players & researchers.
Comm 1312 Gerhard Stradner, ed.: Klangführer durch die Sammlung alter Musikinstrumente, Wien, Kunsthistorisches Museum - part 2 (further to Comm 1297) by Jeremy Montagu
Comm 1313 The British Clavichord Society BCE, by Susan Alexander-Max
Comm 1314 On manners, status and Comm 1301, by Ephraim Segerman
Comm 1315 The world according to Segerman, by Charles Stroom
Comm 1316 Contrasts between string and woodwind gracing in Purcell's time, by Ephraim Segerman
Comm 1317 On the scholarship of string names, a reply to Comm 1308, by Ephraim Segerman
Comm 1318 Roped gut bass strings - a 16th century reference, by John Downing
Comm 1319 Chinese catlines, by John Downing
Comm 1320 All at sea with the ship's cat, by John Downing
Comm 1321 Talbot's English theorbo reconsidered, by David van Edwards
Comm 1322 Geometrical design of the lute belly, by Roy Chiverton
Comm 1323 Ebony, by Camwood Ltd.
Comm 1324 Lute: angled bridges, `J' shaped bars, fan bars and below the bridge transverse bars, by G Mather
Comm 1325 Further help with Comm 1197, by G Mather
Comm 1326 David's three-part organum (sequel to Comm 1299) by David Z Crookes
Comm 1327 Praetorius' brass instruments and cammerthon, by Steve Heavens, Eph Segerman
Comm 1328 Praetorius' pitchpipe pfeifflin zur Chormass, by Steve Heavens
Comm 1329 Transposing organs and pitch in England: response to Segerman's Comm 1290, by Martin Goetze

Fomrhi Quarterly 77, Oct 1994

On Comm 1287 by D.Z. Crookes, by Ephraim Segerman
On Early Music and music history, by Ephraim Segerman
Comm 1291 John Koster: Keyboard musical instruments in the Museum of Fine Arts Boston (408 pp) by Paul Y Irvin
Comm 1292 John Koster: Keyboard musical instruments in the Museum of Fine Arts Boston (408 pp) by Michael Cole
Comm 1293 Pauline Rushton, ed.: European musical instruments in Liverpool Museum (182 pp) by Michael Cole
Comm 1294 Pauline Rushton, ed.: European musical instruments in Liverpool Museum (182 pp) by Jeremy Montagu
Comm 1295 Eszter Fontana, Friedemann Hellwig, Klaus Martius: Historische Lacke und Beizen auf Musikinstrumenten in deutschsprachigen Quellen bis 1900 (158 pp) by Ephraim Segerman
Comm 1296 Florence Gétrau, ed.: La recherche en organologie; les instruments de musique occidenteaux, 1960-1992 by Jeremy Montagu
Comm 1297 Gerhard Stradner, ed.: Klangführer durch die Sammlung alter Musikinstrumente, Wien, Kunsthistorisches Museum, by Jeremy Montagu
Comm 1298 A method of bushing wrestplanks, by David Law
Comm 1299 The Davidic notation system, a sequel to Comm 1287, by David Z Crookes
Comm 1300 the internet mailing lists and Micat-L, by Charles Stroom
Comm 1301 Further to Comm 1278 `a kinder, gentler FoMRHI' by Peter Spohr
Comm 1302 Thoughts on Comm 1276 `Occam's razor' by R White
Comm 1303 Response to Comm 1302 on Occam's razor, by Ephraim Segerman
Comm 1304 For an open and honest FoMRHI - reply to Comm 1218, by Ephraim Segerman
Comm 1305 Four great curtals from Augsburg, Sonderhausen and Pillnitz by G Lyndon-Jones
Comm 1306 Instruments at Schloss Pillnitz, by G Lyndon-Jones
Comm 1307 On historical lute string types and tensions (including a response to Comm 1288) by Ephraim Segerman
Comm 1308 Strings and their names, by John Catch
Comm 1309 On melodic and continuo bowing of early fiddles and viols, by Ephraim Segerman

Fomrhi Quarterly 76, Jul 1994

Portraits in the Royal College of Music, London.
Bate collection, two new plans (harpsichords by William Smith, and by Joannes Goermans). List Royal College of Music, London.
On Comm 1245 (`historic' or `historical').
On Comm 1278 (disputational style).
Comm 1267 Pierre Erard: The harp in its present improved state compared with the original pedal harp, London 1821, by Jeremy Montagu
Comm 1267 Robert Bruce Armstrong: The Highland harp (part 2 of `Musical Instruments, Edinburgh 1904), by Jeremy Montagu
Comm 1268 Larigot 15, June 1994, ACIMV, by Jeremy Montagu
Comm 1269 Stephen Morey: Mandolins of the 18th century, 154 pp, by Jeremy Montagu
Comm 1270 Phillip T. Young: 4900 historical woodwind instruments, 270 pp, by Jeremy Montagu
Comm 1271 Questions on bending and a plan for crumhorns, by Helmut Buck
Comm 1272 `Let us now praise famous men ...', an obituary for Michael Morrow, by Jeremy Montagu
Comm 1273 Michael Morrow, by Ephraim Segerman
Comm 1274 Reply to Raudonikas's Comm 1243, by Ephraim Segerman
Comm 1275 Letter to the membership as whole (further to Comm 1243), by Felix Raudonikas
Comm 1276 Occam's razor: the formal method for ensuring objectivity in scholarship, by Ephraim Segerman
Comm 1277 FoMRHI on the Internet, by John Rawson
Comm 1278 A kinder, gentler FoMRHI, by Robert H Cronin
Comm 1279 On writing a history of the oboe in the 19th century, by Geoffrey Burgess
Comm 1280 A `bajón' for London, by William Waterhouse
Comm 1281 Forces exerted by bore measuring techniques, by Robert H Cronin
Comm 1282 Early sound generation: bassoon reeds, by Paul White
Comm 1283 Making one's Mark, by Graham Lyndon-Jones
Comm 1284 More putti in the Stiftsbasilika at Waldsassen, by Graham Lyndon-Jones
Comm 1285 A note on `the good oil' (C-1228) by T. Simmons, by Giovanni Guida
Comm 1286 Theobald Böhm as a flute maker, by Ludwig Böhm
Comm 1287 The scale of the psalter, by David Z Crookes
Comm 1288 On Venice catlins, lyons, Pistoy basses and loaded weighted bass gut strings (see also Comm 1235, Comm 1254 and Comm 1255), by Mimmo Peruffo
Comm 1289 More on the name `catline' (see also Comm 1254), by Ephraim Segerman
Comm 1290 On early 17th century English vocal and organ pitches, by Ephraim Segerman

Fomrhi Quarterly 75, Apr 1994

1993 Acquisitions at the Fiske Museum.
CompuServe announcement on making musical instruments.
Bate collection, three new plans (flutes by Delerablé, Lot, and Kirst).
Comm 1238 Cooke: Edinburgh University collection of historical instruments, catalogue, vol 2A, wind instruments of regional cultures worldwide, by Jeremy Montagu
Comm 1239 Lenski, Ventzke: Das goldene Zeitalter der Flöte, Frankreich 1832-1932, 270 pp., Montagu.
Comm 1240 van Ree Bernard: The keyed monochord; rediscovery of a forgotten instrument, 48 pp., by Jeremy Montagu
Comm 1241 Virdung: Musica Getutscht, (tr Beth Bullard), 275 pp. by Jeremy Montagu
Comm 1242 The FoMRHI Quarterly review of `Makers of the Piano 1700-1820', a question of interpretation or a statement of misunderstanding (further to Comm 1185) by Novak Clinkscale
Comm 1243 Somewhat about understandings (further to Comm 1190) by Felix Raudonikas
Comm 1244 Unwelcome honesty doesn't help - a response to Comm 1216 (and to Comm 1215) by Ephraim Segerman
Comm 1245 Are our instruments HISTORIC or HISTORICAL, by Arnold Myers
Comm 1246 Association in instrument collections, by Arnold Myers
Comm 1247 Nominal pitch, by Arnold Myers
Comm 1248 Measuring instrument pitch with a pocket tuner, by John Downing
Comm 1249 On the measurement of tessitura and movement in music, by Ephraim Segerman
Comm 1250 An equal tempered scale for tempo, by Ephraim Segerman
Comm 1251 Gerle on tempo, by Ephraim Segerman
Comm 1252 The transposing organ and choir pitch in England: a short test, by Martin Goetze
Comm 1253 Early instruments in St Petersburg, by Uta Henning
Comm 1254 Catlin, coloured and loaded strings, by John Catch
Comm 1255 On historical string tensions on lutes, by Ephraim Segerman
Comm 1256 Stringing 5-course baroque guitars, by Ephraim Segerman
Comm 1257 The curtals of the Maximilian Museum Augsburg: a reply to Comm 1224, by Erich Tremmel
Comm 1258 Making a stamp or branding iron for marking musical instruments, by G E King
Comm 1259 Three boxwood oboes by Hendrik Richters, by Jan Bouterse
Comm 1260 Woodwinds - boring pipes, by John Downing
Comm 1261 The transposing organ and choir pitch in England: answers to Comm 1252), by Martin Goetze
Comm 1262 Key lever fulcrum pin mortices, by Sue Robson
Comm 1263 On the wings of the muse or songs of historical feathers (on harpsichord quills and voicing), by Remy Gug
Comm 1264 The Canadian vocalion, by John Downing
Comm 1265 The nature of theoretical musical communication, by Felix Raudonikas
Comm 1266 Syntax of relative two-dimensional mode, by Felix Raudonikas

Fomrhi Quarterly 74, Jan 1994

African ebony.
Genuine boxwood.
Comm 1206 Gillian Sheldrick, ed.: The accounts of Thomas Green 1742-1790.
Comm 1207 Joseph Doane: A musical Directory for the year 1794, by Jeremy Montagu
Comm 1208 Peter Holman, Four and twenty fiddlers; the violin at the English Court 1540-1690. 491 pp. by Jeremy Montagu
Comm 1209 William Waterhouse: The new Langwill index - a dictionary of musical instrument makers and inventors. 518 pp. by Jeremy Montagu
Comm 1210 Larigot; annual subscription to ACIMV. by Jeremy Montagu
Comm 1211 Edinburgh Collection of Historic Musical Instruments, catalogue Vol 2;E;ii, William Waterhouse, Bassoons, by Jeremy Montagu
Comm 1211 Edinburgh Collection of Historic Musical Instruments, catalogue Vol 2;H;iii, Arnold Myers & Raymond Parks, Trumpets and Trombones, by Jeremy Montagu
Comm 1212 What can we reasonably expect museums to provide or allow? (on measuring instruments), by Jeremy Montagu
Comm 1213 Measuring instruments in museums & conservation, by Michael Ransley
Comm 1214 Suppliers of materials, by Donald Gill
Comm 1215 A reply to comments from various members on Comm 1174, by Peter Bavington
Comm 1216 Some observations on the `natural' trumpet, by Bob Barclay
Comm 1217 On musicologists and early music, by Ephraim Segerman
Comm 1218 Scholarship, statistics, and the minimum amount of evidence needed, by Ephraim Segerman
Comm 1219 Well under a thousand words for the ivory ban, by Ardal Powell
Comm 1220 Praetorius' keyless curtals, by Graham Lyndon-Jones
Comm 1221 A wizard lizard (a 5-keyed cornett in the Stadtmuseum of Munich), by G Lyndon-Jones
Comm 1222 Checklist of some of the woodwinds at the Stadtmuseum, Munich, by G Lyndon-Jones
Comm 1223 On the difference between early and modern baroque reeds, by Ephraim Segerman
Comm 1224 Augsburg revisited (the curtals in the Maximilian Museum) by Grahm Lyndon-Jones
Comm 1225 C.N.C. reamer experiment. July 1992, by Barry Jefferies
Comm 1226 Some historical notes on acid staining, by David E Owen
Comm 1227 Expanding boxwood and playing in, by Mary Kirckpatrick
Comm 1228 The good oil; what really happens when you oil your recorder, by Terry Simmons
Comm 1229 Restoration report, 17th century Italian harpsichord at Music-Sources, 1993, by Robert Greenberg
Comm 1230 Harpsichord voicing, by Michael Cole
Comm 1231 Milanese keyboard makers - 16th century, by Carlo Chiesa
Comm 1232 An alphabetical string gauge system, by John Downing
Comm 1233 A c. 1900 string gauge and an unwound viola C string, by Ephraim Segerman
Comm 1234 Historical violin stringings up to 1900, by Ephraim Segerman
Comm 1235 On catlines and Pistoy basses, by Ephraim Segerman
Comm 1236 Bogwood again (further to Comm 1074, by John Downing
Comm 1237 Below bridge bars in lutes - a missing link, by John Downing

Fomrhi Quarterly 73, Oct 1993

Brassware for keyboard instruments by David Law
List of workshop drawings from the Edinburgh University Collection of Historic Musical Instruments.
Comm 1183 The Woodwind Quartely, issue 2, by Jeremy Montagu
Comm 1184 Giannini: Great flute makers of France: the Lot and Godfroy families 1650-1900 by Jeremy Montagu
Comm 1185 Novak Clinkscale: Makers of the piano 1700-1820, by Michael Cole
Comm 1186 Real instruments and fake putti, by Graham Lyndon-Jones
Comm 1187 An interesting organ loft in Antwerp, by Graham Lyndon-Jones
Comm 1188 Memlinc revisited - further to Comm 203, Comm 411 and Comm 659, by Jeremy Montagu
Comm 1189 Timber - swelling and shrinking, by Ian Allen
Comm 1190 A letter on the Pythagorean system, by Felix Raudonikas.
Comm 1191 Response to Bavington's Comm 1174 criticising criticism of Early Musicians, by Ephraim Segerman
Comm 1192 Response to Wood's C-1175 criticising criticism of Early Musicians, by Eph Segerman
Comm 1193 The sharp eared minority and the effects of its power, by Ephraim Segerman
Comm 1194 Where have all the creative amateurs gone, by Ephraim Segerman
Comm 1195 Ruthless authenticity, by Barry Jefferies
Comm 1196 Relevant CNC, by Barry Jefferies
Comm 1197 Positioning pivot holes in turned rings, by Donald Gill
Comm 1198 A simple way to hold work on a lathe, by Michael Ransley
Comm 1199 Authentic methods of making woodwinds, by Michael Ransley
Comm 1200 The sizes and pitches of Praetorius's sackbuts, by Ephraim Segerman
Comm 1201 Mean-tone fretting by computer or calculator, by Ephraim Segerman
Comm 1202 Violin makers in Milano 17th-18th century, by Carlo Chiesa
Comm 1203 Catlin(g)s: the etymology, by John Catch
Comm 1204 Equal tension stringing of the Irish harp, by John Downing
Comm 1205 Mortice and tenon joints on the Irish harp, by John Downing

Fomrhi Quarterly 72, Jul 1993

Drawings available. Jan Bouterse.
Correction to Comm 1129.
English viol bellies, made of bent strip, by Ephraim Segerman
Restoration, on an article in the New Scientist, 26 June 1993, by Ephraim Segerman
Comm 1170 CIMCIM publication no.1: Recommendation for the conservation of musical instruments: an annotated bibliography. 19 pp. 1993, by Jeremy Montagu
Comm 1171 Journal of the Australian Association of musical instrument makers, vol.XII no.1, March '93, by Jeremy Montagu
Comm 1172 Do you get excited when the postman brings your Q, by Graham Lyndon-Jones
Comm 1173 Welcome back the Hunter - income from the ivory trade is the best assurance for the survival of elephants, by Simon Jenkins
Comm 1174 A counterblast to the Calvinist tendency (further to Comm 1119, Comm 1143, Comm 1146, Comm 1159, Comm 1160), by Peter Bavington
Comm 1175 Blow somewhat strong, by Lorraine Wood
Comm 1176 A preliminary reply to Comm 1119 and Comm 1160, by Mary Kirkpatrick
Comm 1177 A rejoinder to a response to Comm 1157, by Jeremy Montagu
Comm 1178 A comm on Comm 1137, Comm 1161, Comm 1163, by Barry Jefferies
Comm 1179 A low cost CAD/CAM, by Barry Jefferies
Comm 1180 Request for information (an Italian harpsichord), by Robert Greenberg
Comm 1181 Some remarks on the W. Beukers baroque oboe (museum code 808/69) in the V&A Museum in London, by Jan Bouterse
Comm 1182 Medieval glues ... sounded well, by Remy Gug

Fomrhi Quarterly 71, Apr 1993

1992 Acquisitions at the Fiske Museum.
CIMCIM publications currently available.
Instructions for working tagua nuts, a substitute for ivory. Tutors from the Bate Collection. an addition to Comm 1130.
Comm 1154 van Acht: Checklist of technical drawings of musical instruments in public collections of the world, 185 pp., 1992, by Jeremy Montagu
Comm 1155 1992 Report from the Czechoslovakian Society of Makers of Historical Reproduction Musical Instruments, by David Freeman
Comm 1156 Cow bells, a request, by Jeremy Montagu
Comm 1157 More on Beethoven and the early music industry, by Jeremy Montagu
Comm 1158 On current uniformity in performing style, by Ephraim Segerman
Comm 1159 Conflicting philosophies in the bassoon controversy, by Ephraim Segerman
Comm 1160 The hallmark of good restoration is ruthless authenticity, by Paul White
Comm 1161 Reamers - hollow, by Alec V Loretto
Comm 1162 Make your own imitation ivory, by Brian Ackerman
Comm 1163 CNCs, the sledgehammer and the nut, by Brian Ackerman
Comm 1164 The `Zängelmass' of the wire drawer; a documentary confirmation of the 16th century, by Remy Gug
Comm 1165 On harpsichord dampers again, by Robert Greenberg
Comm 1166 A comment on Comm 1150, by John Koster
Comm 1167 Medieval sound boxes, to be glued or not, by Ephraim Segerman
Comm 1168 Fingerboard shapes and graded frets, by Ephraim Segerman
Comm 1169 Recreating the Irish harp - a comment to Comm 1149, by John Downing

Fomrhi Quarterly 70, Jan 1993

Comm 1131 Baines: The Oxford companion to musical instruments, 1992; 404 pp, by Jeremy Montagu
Comm 1132 Solum: The early Flute, 1992; 164 pp., by Jeremy Montagu
Comm 1133 Myers, ed.: Edinburgh Collection of Historic Musical Instruments, volumes 1 (the illustrations, 168 pp) and 2 (the descriptive fascicles, 44 pp), by Jeremy Montagu
Comm 1134 Harvey: Violin fraud: deception, forgery, theft, and the law, 1992; 126 pp., by Jeremy Montagu
Comm 1135 Bouwbrief articles (summarises nr 65 to 67), by Roy Chiverton
Comm 1136 The clarinet d'amour: e request for additional information, by Albert R Rice
Comm 1137 Woodwind instrument making: use of gun drills for long hole boring; supplement to C-957., by Julian Goodacre
Comm 1138 Woodwind instrument making: wooden collet chucks for lathe work, by Julian Goodacre
Comm 1139 Drilling and boring process for chanters and drones, by Malcolm McLaren
Comm 1140 A case for CNC (Computer Numeric Control); computer aided reamer production for woodwind instruments, by Barry Jefferies
Comm 1141 Low cost CNC (Computer Numeric Control), by Barry Jefferies
Comm 1142 Re Comm 1119, by Barbara Stanley
Comm 1143 Meanness of tone; re Comm 1119 by Maggie Lyndon-Jones
Comm 1144 On the contrary; re Comm 1119, by Graham Lyndon-Jones
Comm 1145 Comments on Comm 1119, by Graham Lyndon-Jones
Comm 1146 Re Comm 1119, by Alberto Grazzi
Comm 1147 Beethoven and the early music industry, by Ephraim Segerman
Comm 1148 On embellishment function and context, by Ephraim Segerman
Comm 1149 Applying the principles of stringing plucked instruments to the Irish harp, by Ephraim Segerman
Comm 1150 An attribution of an unsigned spinet, by Denzil Wraight
Comm 1151 Harpsichord dampers; historic vs. modern, by Paul Y Irvin
Comm 1152 Through dampers (double dampers), by Paul Y Irvin
Comm 1153 More on sympathetic strings, by Paul Y Irvin

Fomrhi Quarterly 69, Oct 1992

Comm 1113 Myers, ed.: Edinburgh Collection of Historic Musical Instruments, by Jeremy Montagu
Comm 1114 Golos, Kobus & Vogel: Stownik Terminologiczny Zabytków [Dictionary of the Polish terminology of Historic Musical Instruments], 1991; 209 pp, by Jeremy Montagu
Comm 1114 Golos: Przewodnik Po Dawnym Instrumentarium, 1998; 184 pp., by Jeremy Montagu
Comm 1114 Rosiónski: Zabytkowe Organy, Wydawnictwo Naukowe PWN, 1992; 422 pp. by Jeremy Montagu
Comm 1115 Lasocki, ed.: Fluting and Dancing, 1992; 200 pp., by Jeremy Montagu
Comm 1116 Baines: The Oxford companion to musical instruments, 1992; 404 pp., by Jeremy Montagu
Comm 1117 Comments on Jeremy Montagu's review of the Conservation and Technology of Musical Instruments' in Comm 1107, by Cary Karp
Comm 1118 Addendum to Comm 1111: What is a 'copy' of an original instrument? by Alec V Loretto
Comm 1119 The post-modernist bassoon: problems with 'authenticity' in early woodwind reproductions (marketing, facade and the early music industry steamroller), by Paul White
Comm 1120 Some flute pitches, by Roy Chiverton
Comm 1121 How to design a traverso, by Manfred Brach
Comm 1122 A string and tuning guide for the Irish harp, by John Downing
Comm 1123 Short octaves (see also Comm 1078 and Comm 1095), by John Barnes
Comm 1124 How my harpsichord goes out of tune, by R K Lee
Comm 1125 On Italian harpsichord jacks and sympathetic strings, by Robert Greenberg
Comm 1126 On Spanish harpsichord jacks and sympathetic strings, by Robert Greenberg
Comm 1127 English organs and transposition skills (with an appendix of a catalogue of methods of transposition), by Ephraim Segerman
Comm 1128 Fascination with the chekker is alive and well, by Ephraim Segerman
Comm 1129 Tempos and time signatures in 17th century England, by Ephraim Segerman
Comm 1130 Duple tempi and time signature in the 16th century (appendix Gaffurius's 'breathing' and Neusidler's counting), by Ephraim Segerman

Fomrhi Quarterly 68, Jul 1992

List of available drawings housed in the Bate collection, by Jeremy Montagu
List the Bate collection of musical instruments, Oxford. Montagu.
Comments to Comm 1093 (fiddle tunings), by Ephraim Segerman
Comm 1103 Barclay: the art of the trumpet maker: the material, tools, and techniques used in the 17th and 18th century in Nuremberg; 186 pp., by Jeremy Montagu
Comm 1104 Rice: the baroque clarinet, 197 pp., by Jeremy Montagu
Comm 1105 Aksdal: Mer(oaker Klarinetten; Ringve Museums Skrifter nr.5, 33 pp. by Jeremy Montagu
Comm 1106 Haynes: Music for the oboe 1650-1800: a bibliography, by Jeremy Montagu
Comm 1107 Karp et al.: The conservation and technology of musical instruments, Art & Archeology Technical Abstracts, vol. 28, no. 3, 237 pp., by Jeremy Montagu
Comm 1108 Tiella, Beare, et al.: Strumenti di Antonio Stradivari, 68 pp., by Jeremy Montagu
Comm 1109 More sympathetic strings, by Robert Webb
Comm 1110 Forsyth (1914) quotes on viols, by John Cousen
Comm 1111 What is a 'copy' of an original instrument, Ephraim Segerman
Comm 1112 An analysis of Irish harp scaling, John Downing

Fomrhi Quarterly 67, Apr 1992

Comm 1084 Various comments (on Comm 1082, Comm 1077, Comm 1078 and Comm 1081, by Jeremy Montagu
Comm 1085 Bouwbrief articles (from 1991, #59 until 1991, #63), by Roy Chiverton
Comm 1086 A small miscellany of bits and pieces, by Roy Chiverton
Comm 1087 Progress report 1991 on the collection of historic musical instruments of the Edinburgh University, by Arnold Myers
Comm 1088 An inexpensive, easily made counter bore that works, by Kimber Rhoads
Comm 1089 Bajón reeds, by Paul White
Comm 1090 The reality of musicians and scientists: response to Comm 1076, by Ephraim Segerman
Comm 1091 Singing lessons for wood, by John Catch
Comm 1092 Some more aspects about fiddle making, by P Talve
Comm 1093 Jerome of Moravia's first fiddle tuning as an individualised modal framework, by Linda Marie Zaerr
Comm 1094 Travelling in the 16th century and .... lute strings, by Remy Gug
Comm 1095 Short octaves, by John Barnes
Comm 1096 Shelley's guitar and 19th century stringing practices, by Ephraim Segerman
Comm 1097 Sympathetic strings, by Ephraim Segerman
Comm 1098 Reply to Comm 891 (on 18th century German and French pitches) by Bruce Haynes, by Ephraim Segerman
Comm 1099 Further comments to the pitch dispute, by Bruce Haynes, Ephraim Segerman
Comm 1100 Early 18th century English pitches, especially 'consort flute pitch' and 'church pitch of f', by Ephraim Segerman
Comm 1101 Comments on early 18th century organ pitches, by Dominic Gwynn
Comm 1102 John Hawkins (1776) on performated pipes, Jouh Cousen

Fomrhi Quarterly 66, Jan 1992

Comm 1069 Huber: Verzeichnis sämtlicher Musikinstrumente, Germanisches National Museum, 1989, 415 pp., by Jeremy Montagu
Comm 1070 Rose, Law: A handbook of historical stringing practice for keyboard instruments, 1991, 132 pp & graphs., by Jeremy Montagu
Comm 1071 Martin Best Medieval Ensemble, the last of the troubadours, by Jeremy Montagu
Comm 1071 Souter: Händel & Scarlatti on the 1772 Kirckman harpsichord Ashmolean museum, CD or cassette., by Jeremy Montagu
Comm 1071 the Hanover Band, Huggett, Verney, Beethoven symphony #2, piano concerto #3., by Jeremy Montagu
Comm 1072 Trip to the Baltic states; including the Museum of Theatre and Music, Vilnius, the Museum of Theatre and Music, Tallinn, the Latvian State Museum, the Riga Museum of History and Shipping, Riga., by Paul Madgwick
Comm 1073 The chemical treatment of timber - part II, general., by John Downing
Comm 1074 The chemical treatment of timber - includes bogwood, bog oak, bog pine, alder, by John Downing
Comm 1075 Guilt-free music; on vegetarians, by William Russell
Comm 1076 Teaching wood to sing, and other matters; on scientist and musicians, D Jacques Way
Comm 1077 Teaching wood to sing; a reply to Comm 1032 and Comm 1047, by J Swayne
Comm 1078 Italian short octaves; why did they exist, by John Bence
Comm 1079 On early music; why is there an early music movement and not an early painting movement, by Ephraim Segerman
Comm 1080 Design of the V&A Rose and Jaye viol soundholes, by Ephraim Segerman
Comm 1081 More on Praetorius' Basset Nicolo, a reply to Comm 1064, by Charles Foster
Comm 1082 Response to Eph Segerman's Comm 1063; on English pitch standards, by Bruce Haynes
Comm 1083 Essays of Pythagorean system; 4. four-dimensional syntax; 5. auscultation researches, by Felix Raudonikas
Comm 1083 Essays of Pythagorean system; 6. spectrum of coherencies; 7. classification of modalities, by Felix Raudonikas
Comm 1083: Essays of Pythagorean system; representation of scale by point or the modular projection, by Felix Raudonikas

Fomrhi Quarterly 65, Oct 1991

Comm 1058 van Acht, van den Ende, Schimmel: Dutch recorders of the 18th century (collection Haags Gemeente Museum), by Jeremy Montagu
Comm 1059 Kampmann: Catalogue de la Collection d'instruments de musique à vent, tome 2, numéro special 1 du bulletin Larigot, ACIMV, by Jeremy Montagu
Comm 1060 Myers: Cartledge, Catalogue of the brass musical instruments in the collection of Bradford art galleries & museums., by Jeremy Montagu
Comm 1060 Myers, Herbert: Catalogue of the European wind and percussion instruments in the Cyfarthfa Castle museum collection, by Jeremy Montagu
Comm 1061 Snakes are Beautiful - with gratitude to Christopher Monk, by Jeremy Montagu
Comm 1062 Paper portative organ pipes, by Geoff Bridges
Comm 1063 English pitch standards, mostly c.1600, by Ephraim Segerman
Comm 1064 Praetorius's Basset Nicolo, a reply to Comm 1049, by Bruno Gire
Comm 1065 Singing lessons for wood, by John Catch
Comm 1066 Memories of John Paul, by Bunt White
Comm 1067 From Purcell to perestroika, early keyboard in the USSR, by Christopher Stembridge
Comm 1068 Essays of Pythagorean system; 3. three-dimensional syntax, by Felix Raudonikas

Fomrhi Quarterly 64, Jul 1991

Comm 1044 ACIMV [Larigot] Wind instrument makers and their catalogues, No.1: Martin Frères & Famille, Paris, 93 rue de la Chapelle.
Comm 1045 John Paul - An appreciation.
Comm 1046 Dear Jeremy (A letter to J.M. on authenticity), by D Jacques Way
Comm 1047 On teaching wood to sing, by D Jacques Way
Comm 1048 Reconstructing Mersenne's basson and fagot, by Graham Lyndon-Jones, P Harris
Comm 1049 Preatorius' Basset Nicolo - Lang Strack Basset zu den Krumhörner, or Centaur, mythical beast, by Charles Foster
Comm 1050 Paper organ pipes, by Donald Gill
Comm 1051 The longitudinal structure of the Bizey boxwood flute (Bate collection No.106), by Manfred Brach
Comm 1052 Dutch recorders and transverse flutes of the 17th and 18th century. (list of instruments, July 1991), by Jan Bouterse
Comm 1053 Some English viol belly shapes, by Ephraim Segerman
Comm 1054 Mersenne's monochord, by Bill Napier-Hemy
Comm 1055 Essays of Pythagorean system; primary concepts and two-dimensional syntax, by Felix Raudonikas
Comm 1056 Evidence of historical temperament from fretted clavichords, by Peter Bavington and Miles Hellon
Comm 1057 A signed Mietke harpsichord, by Andreas Kilström

Fomrhi Quarterly 63, Apr 1991

Leicester Early Music festival 1991.
New acquisitions to the Fiske Museum, Ca.
List Guild of American Luthiers, Tacoma WA.
List Royal College of Music, London.
List Smithsonian Institute, Washington DC.
List Société des Amis du Musée Instrumental, Paris (new address).
Comm 1023 Journal of the Australian Association of musical instrument makers, November '90, by Jeremy Montagu
Comm 1023 Larigot no.9, December 1990, by Jeremy Montagu
Comm 1024 Spohr: Transverse flutes down the centuries from all over the world, (Exhibition catalogue Frankfurt 1991), by Jeremy Montagu
Comm 1025 Bouwbrief articles summarised, #51 - #58 (Nov '88 - Aug '90), by Roy Chiverton
Comm 1026 From small acorns, large oak tress grow; a personal report on early music in Czechoslovakia, by David Freeman
Comm 1027 A van load of instruments to Prague, June 1991, by Poppy Holden
Comm 1028 Musical instrument technology in 17th century England; meeting report Oxford 3 Feb '91, by P Gouk
Comm 1029 Musical instrument technology 1450-1550; meeting report Oxford 17 Mar '91, by Bill Napier-Hemy
Comm 1030 Corollaria to the modal scale theory (summary), by Felix Raudonikas
Comm 1031 The Pythagorean system of musical tones, part 2, by Felix Raudonikas
Comm 1032 Singing lessons for wood, by John Catch
Comm 1033 The buzzing of wood strings, by Ephraim Segerman
Comm 1034 The stringing of English and German guitars, by Ephraim Segerman
Comm 1035 Culture mathematics and design of early instruments, by Ephraim Segerman
Comm 1036 Some geometrical analyses of archings, by Ephraim Segerman
Comm 1037 The descriptions of the Dutch recorders in the collection of the Haags Gemeente Museum, by Jan Bouterse
Comm 1038 Bouterse: De blokfluit, handleiding voor aanschaf, onderhoud bijstemmen en kleine reparaties, 1990, by Jan Bouterse
Comm 1039 Appeal for pitches of original traversos and recorders, by Bruce Haynes
Comm 1040 Wood bending process in 18th century England, by Remy Gug
Comm 1041 A 17th century French harpsichord, by Christopher Nobbs
Comm 1042 The walnut revisited (a harpsichord in Landesmuseum Stuttgart), by William Jurgenson
Comm 1043 Is looking seeing? (an Italian harpsichord description), by William Jurgenson

Fomrhi Quarterly 62, Jan 1991

Comm 1012 Record, keyboard works of C.P.E. Bach by Brauchli, by Jeremy Montagu
Comm 1013 Record, 18th century music for two keyboard instruments by Brauchli & Elizondo, by Jeremy Montagu
Comm 1014 University of Edinburgh collection of historic musical instruments, progress report 1990, by Arnold Meyers
Comm 1015 The other Germany - well worth visiting, by Simon Lambert
Comm 1016 Hard currency and Eastern Europe, by Simon Lambert
Comm 1017 Reducing and enlarging paper sizes, by Simon Lambert
Comm 1018 On the reviewing and modification of musical instruments, by Lewis Jones
Comm 1019 How recorders can improve with time, by Alec V Loretto
Comm 1020 An imaginative investigator without ... investigations (on accuracy and precision), by Remy Gug
Comm 1021 New hypothesis on the construction of bass strings for lutes and other gut strung instruments, by Mimmo Peruffo
Comm 1022 A dynamic harpsichord action, by Bill Napier-Hemy

Fomrhi Quarterly 61, Oct 1990

Comm 988 Gunji, Kunitachi College, Tokio: Catalogue 9, Flute, by Jeremy Montagu
Comm 989 I Quaderni della Civico Scuola di Musica, no.17, April 1989, Commune de Milano.
Comm 990 Larigot no.8, September 1990, by Jeremy Montagu
Comm 991 Ueno Gakuen College Tokio: Catalogue of the European musical instruments of the 17th-19th century (2nd issue) by Jeremy Montagu
Comm 992 Restoration of early musical instruments, UKIC and V&A Christmas symposium 1983 by Jeremy Montagu
Comm 993 Jaarboek van het Vlaamse centrum voor oude muziek 3, 1987, by Jeremy Montagu
Comm 994 1990 instrument courses in Prague, by David Freeman
Comm 995 Further to Comm 981: Reviewers and reviewers, by Roy Chiverton
Comm 996 Further to Comm 981: Response to bulletin supplement 60, by Paul Hailperin
Comm 997 Further to Comm 981: Reviews of musical instruments, by John Rawson
Comm 998 Further to Comm 981, by Simon Lambert
Comm 999 Further to Comm 981: Finding fault in the early bassoon: some thoughts on musical instrument reviewing, by Paul White
Comm 1000 Further to Comm 981 and Comm 982, by Peter Bavington
Comm 1001 Further to Comm 966, Comm 967, Comm 981 and Comm 982: Should FoMRHI continue or not, by Uta Henning
Commm 1002 Further to Comm 981: A controversial issue, by Ardal Powell
Comm 1003 Fixing the baroque flute, by Ardal Powell
Comm 1004 The Sorduen Bas, by Barry Lloyd
Comm 1005 Misled by Mersenne? (on flutes), by Roy Chiverton
Comm 1006 Ivory alternatives, by John Paul
Comm 1007 How to design a recorder, by Manfred Brach
Comm 1008 Violin makers' inches in proportion, by Mark M Smith
Comm 1009 A comparison of some baroque violins, by Mark M Smith
Comm 1010 The early design of stringed instruments, by Roy Chiverton
Comm 1011 The acoustics of mountain forests in early centuries, or the lost art of choosing resonance wood, by Remy Gug

Fomrhi Quarterly 60, Jul 1990

List Bate collection, Oxford, supplement to the 1989 check list, July 1990.
Comm 977 The new Grove dictionary of musical instruments, by Ephraim Segerman
Comm 978 Larigot no.7, March 1990, by Jeremy Montagu
Comm 979 Tiella & Primon: Catalogo degli Strumenti dell'Istituto della Pietà Venezia, Venezia 1990, by Jeremy Montagu
Comm 980 Aulos Haka descant and treble recorders, by Alan Davis
Comm 981 Reviews of musical instruments, by Ardal Powell
Comm 982 Further to Comm 981 - Are reviews justified, by Jeremy Montagu
Comm 983 Style decoration and tone, by Ephraim Segerman
Comm 984 Identifying woodworm, by John Rawson
Comm 985 Old wood, D Jacques Way
Comm 986 The archetypal harpsichord, by Seizo Yokota
Comm 987 On three well-proportioned alto recorders, Manfred Brach

Fomrhi Quraterly 59, Apr 1990

New acquisitions to the Fiske Museum, Ca.
Comm 962 Scherchen: Handbook of conducting, by Jeremy Montagu
Comm 963 Ehrlich: The piano: a history, by Jeremy Montagu
Comm 964 Pinniger: Insect pests in museums, by Jeremy Montagu
Comm 965 The new Grove dictionary of musical instruments, by Ephraim Segerman
Comm 966 Aulos, Stanesby junior traverso; Haka treble recorder, by Jeremy Montagu
Comm 967 The Aulos baroque flute and descant and treble recorders, by Lewis Jones
Comm 968 The early 16th century Italian short octave, by Denzil Wraight
Comm 969 Viennese fortepiano tuning and maintenance manuals: a check-list, by Thomas McGeary
Comm 970 A contact-free woodwind bore measuring tool, by Bernhard Schultze
Comm 971 University of Edinburgh collection of historic musical instruments, progress report 1989, by Arnold Meyers
Comm 972 Instrument courses in Prague, by David Freeman
Comm 973 The killing of woodworm, particularly in woodwind instruments, by Michaela Freemanova
Comm 974 Throwing ivory overboard, by Ardal Powell
Comm 975 More on dead elephants, by Catherine Folkers
Comm 976 Geometry, lutherie and the art of historiography, part I, by Remy Gug

Fomrhi Quarterly 58, Jan 1990

Harpsichords, organs, trumpet, tromba marina (including photographs), by R K Lee
Comm 945 Smithers: The music and history of the baroque trumpet before 1721, by Jeremy Montagu
Comm 946 Haine: Musica, musical instruments in Belgian collections, by Jeremy Montagu
Comm 947 Schultze: Querflöten der Renaissance and des Barock, Band 1: Eine historisierende literarische Anthologie, by Jeremy Montagu
Comm 948 Van Ree Bernard: The psaltery; an annotated audio-visual review of different types, by Jeremy Montagu
Comm 949 Gunji, Kunitachi College, Tokyo: bowed string instruments, by Jeremy Montagu
Comm 949 Gunji, Kunitachi College, Tokyo: lute, by Jeremy Montagu
Comm 950 Journal of the Australian Association of musical instrument makers, August '89, by Jeremy Montagu
Comm 950 Larigot, November 1989, by Jeremy Montagu
Comm 951 The new Grove dictionary of musical instrument, by Ephraim Segerman
Comm 952 Boston Museum of Fine Arts - 1989 Report, D Samuel Quigley
Comm 953 FoMRHI members teaching in Prague, by Alec V Loretto
Comm 954 The Prague Bressan bocal, by Alec V Loretto
Comm 955 Intonation tests on a post horn in F with one tone hole, by D Rycroft
Comm 956 More on 19th century bassoon reeds, by Greg Lehey
Comm 957 Woodwind instrument making: use of gun drills for long hole boring, by Julian Goodacre
Comm 958 Woodwind instrument making: report on gun drills, live centre, metal turning tools, plastic calipers and 4-jaw self-centering chuck. author by Julian Goodacre
Comm 959 The Pythagorean system of musical tones, part 1, by Felix Raudonikas
Comm 960 Whistles on harpsichord strings, by Peter Bavington
Comm 961 Work done on clavichord #6 by Arnold Dolmetsch 1896/7, by John Barnes

Fomrhi Quarterly 57, Oct 1989

Comm 935 Bowles: Musical ensembles in festival books, 1500-1800; an iconographical and documentary survey, by Jeremy Montagu
Comm 936 Brown: The recorder; a basic workshop manual, by Jeremy Montagu
Comm 938 Kolberg: Ornamental metrics of recorders & traverso, by Jeremy Montagu
Comm 939 Journal of the Australian Association of musical instrument makers, March '89, by Jeremy Montagu
Comm 939 Richter: Wood as raw material for making musical instruments, by Roy Chiverton
Comm 940 Update on response to Comm 903 on the subject of ivory, by Ardal Powell
Comm 941 Don't go overboard about ivory, by Jeremy Montagu
Comm 942 The use of drawings of original instruments, by Simon Lambert
Comm 943 Traverso or traversa, by Ardal Powell
Comm 944 Harpsichord jacks at the Royal Swedish Academy of Science, 1739-1753, by Remy Gug

Fomrhi Quarterly 56, Jul 1989

Complete list Bate collection, Oxford.
Musical instruments and publications, Haags Gemeente Museum.
Publications by G. Dullat.
Comm 918 Larigot no.5, May 1989, by Jeremy Montagu
Comm 919 Traverso no.2, April 1989, by Jeremy Montagu
Comm 920 Kunitachi College, Tokyo: Catalogue 8, bagpipes, by Jeremy Montagu
Comm 921 Moyle: the Sound of Oceania, Auckland Institute & Museum, 1989, by Jeremy Montagu
Comm 922 Tyler, Sparks: The Early Mandolin, 1989, by Jeremy Montagu
Comm 923 Journal of the Australian Association of musical instrument makers, Oct 1989, by Jeremy Montagu
Comm 924 The new Grove dictionary of musical instruments, by Jeremy Montagu
Comm 925 Comments on comments about conservation, by Cary Karp
Comm 926 The destruction of the tropical rain forests - What can I do, by Simon Lambert
Comm 927 Bassoon reeds by Triébert and Massabo, by Paul White
Comm 928 Responses to Comm 903 on the subject of ivory, by Ardal Powell
Comm 929 Traverso Newsletter, by Ardal Powell
Comm 930 La Gaita Gastoreña.
Comm 931 The Morley consort lessons and the English cittern, by Peter Forrester
Comm 932 Historical wire micrometers and diameter values (1780-1850), by Remy Gug
Comm 933 Fortepiano building in Vienna as reflected in the dispute between Jakob Bleyer & Martin Seufert, by Edward E Swenson
Comm 934 An unknown bentside spinet by Albert Delin, by Nicolas Meeùs

Fomrhi Quarterly 55, Apr 1989

List Royal College of Music, London.
Instruments by named makers; Jeremy Montagu Collection.
Comm 904 The new Grove dictionary of musical instruments, by Ephraim Segerman
Comm 905 FoMRHI and conservation and restoration, by Roy Chiverton
Comm 906 A response to Cary's Comm 900 on conservation and accreditation, by Jeremy Montagu
Comm 907 University of Edinburgh collection; progress report 1988, by Arnold Meyers
Comm 908 Response to Comm 889, by Jonathan Swayne
Comm 909 Plastic, ivory, gold and South Africa, by Ardal Powell
Comm 910 GPS Agencies artificial ivory, by W R Stevens
Comm 911 Instrument drawings, by Roy Chiverton
Comm 912 High tech in instrument making, by Stephan Bezinger, Jesper Evald
Comm 913 The flutes of Robert and Willem Wijne, by Jan Bouterse
Comm 914 Observations on the wear of two keyboards separated 200 years, by R K Lee
Comm 915 No percussion in more part renaissance dance music, Berthold Neumann
Comm 916 Rhetoric for the voice and instruments, by Ephraim Segerman
Comm 917 The Birmingham wire gauge and its musical sisters, by Remy Gug

Fomrhi Quarterly 54, Jan 1989

Course on applied conservation technology, Dundee.
Music and book reviews, by Jeremy Montagu
New acquisitions to the Fiske Museum, Ca.
List the Shrine to Music Museum, Vermillion, USA (Italian stringed instruments).
Comm 894 Roberts: Manual or method of instrumentation for playing the Welsh harp, by Jeremy Montagu
Comm 895 American Musical Instrument Society Journal XIII, 1987, October 1986, by Jeremy Montagu
Comm 895 Early Music, November 1988, October 1986, by Jeremy Montagu
Comm 895 Galpin Society Journal XLI, 1988, October 1986, by Jeremy Montagu
Comm 895 Harpsichord & Fortepiano magazine, October 1986, by Jeremy Montagu
Comm 895 Larigot, no. 2, May 1988, October 1986, by Jeremy Montagu
Comm 896 Harrison: Account of the discovery of the scale of musick (1775?) (in above review), by Lewis Jones
Comm 896 Lucy: Pitch, (*p and other musical paradoxes: a practical guide to natural microtonality, by Lewis Jones
Comm 897 The new Grove dictionary of musical instruments, by Jeremy Montagu (L-M)
Comm 898 The new Grove dictionary of musical instruments, by Ephraim Segerman (M)
Comm 899 Accreditation and elitism, by R Barclay
Comm 900 Conservation standards and accreditation, by Cary Karp
Comm 901 Historical tests on Pleyel's music wire, Paris 1811, by Remy Gug
Comm 902 Ivory, by Ardal Powell
Comm 903 Urgent communication on ivory, by Bruce Haynes, Ardal Powell.

Fomrhi Quarterly 53, Oct 1988

List Edinburgh University collection.
Comm 882 Renaissance flute circle newsletter, vol. 1, no. 1 & 2 (1988), by Lewis Jones
Comm 883 Moeck (ed): Fünf Jahrhunderte Deutsche Musikinstrumentenbau, by Jeremy Montagu
Comm 884 Royal College of Music Museum, Set of 13 postcards, by Jeremy Montagu
Comm 885 Young: Loan exhibition of historic double reed instruments, 1988, by Jeremy Montagu
Comm 886 The new Grove dictionary of musical instruments, by Ephraim Segerman (L)
Comm 887 Drum rythms for dance music in the renaissance and middle ages, by Jeremy Montagu
Comm 888 Roman keyed tibiæ, Brian Galpin
Comm 889 .. in death I sing, by Bruce Haynes
Comm 890 Generic A=415, by Bruce Haynes
Comm 891 18th century German and French pitches, by Bruce Haynes
Comm 892 Peculiar tibiæ, by Jeremy Montagu
Comm 893 Historic and experimental studies on brass used for organ reeds, by Remy Gug

Fomrhi Quarterly 52, Jul 1988

List Musikinstrumentenmuseum, Berlin.
Comm 868 Lumsden: The sound of the sackbut, Edinburgh university collection of historical musical instruments, by Jeremy Montagu
Comm 869 Harpsichord and fortepiano magazine, 4:5, April 1988, by Jeremy Montagu
Comm 869 Journal of the Australian Association of musical instrument makers, March '88, by Jeremy Montagu
Comm 870 Jaccottet: J.S. Bach Kompositionen für Lauteninstrumente (record), by Jeremy Montagu
Comm 870 Widensky: Das Claviorganum (record), by Jeremy Montagu
Comm 871 Convegno di Studi Organaria veneta: patrimonio e salvaguardia, by Jeremy Montagu
Comm 872 The new Grove dictionary of musical instruments, by Ephraim Segerman (J-K).
Comm 873 A reminder on the principles of scholarly choice, by Ephraim Segerman
Comm 874 An international database on conservation techniques, by Peter Winsor
Comm 875 UK conservation standards and accreditation, by John Barnes
Comm 876 Registration of old musical instruments conducted by the historical monuments documentation centre, Warszawa.
Comm 877 Musical instruments case makers, by Peter and Ann Mactaggart
Comm 878 Ancient clarsach compared with modern clarsach, by Tim Hobrough
Comm 879 Studies on the physical and technical construction bases of great Italian violin, by Suboni Cornel
Comm 880 Keeping geometrical analysis in proportion, by Mark M Smith
Comm 881 Salted soundboards and sweet sounds, by Remy Gug

Fomrhi Quarterly 51, Apr 1988

Comm 860 The new Grove dictionary of musical instruments, by Ephraim Segerman (H-I).
Comm 861 Comments on Comm 731, by John Downing
Comm 862 On English and French vocal and viol style, by Ephraim Segerman
Comm 863 On accreditation, David Leigh
Comm 864 Further to Comm 849, by Michael Ransley
Comm 865 Comments on woodwind restoration, by Brian Ackerman
Comm 866 Jobst Meuler or the secret of a Nürnberg wire drawer, by Remy Gug
Comm 867 On English lute sizes and tunings c.1600. by Ephraim Segerman

Fomrhi Quarterly 50, Jan 1988

List Edinburgh University collection.
Comm 842 von Gleich: A check-list of pianos, Haags Gemeente Museum, by Jeremy Montagu
Comm 843 The harpsichord and fortepiano magazine, October 1987, by Jeremy Montagu
Comm 844 Sumi Gunji et alii: The collection of musical instruments, Kunitachi College, Tokyo, by Jeremy Montagu
Comm 845 Guide to the collection, Edinburgh university collection of historical musical instruments, by Jeremy Montagu
Comm 846 Haase, Krickeberg: Tasteninstrumente des Museums, Berlin, by Jeremy Montagu
Comm 847 Tiella, Negri, Primon: Ricerche su un violino di proprietà del comune di Rovereto, by Jeremy Montagu
Comm 848 The new Grove dictionary of musical instruments, by Jeremy Montagu (J-K)
Comm 849 The establishment of conservation standards and accreditation in the UK, by Jeremy Montagu
Comm 850 London conference on early keyboard music and instruments, by Lewis Jones
Comm 851 A=415.3 and all that, by Kenneth Mobbs
Comm 852 Strong iron wire and long scales in Italian harpsichords, by Denzil Wraight
Comm 853 English pianoforte wire - a controversy during the years 1823-1825, by Remy Gug
Comm 854 Some strangeness in the proportion, by Michael Fleming
Comm 855 On the double bass and related instruments before 1700, by Ephraim Segerman
Comm 856 Is it a lyra viol or division viol or what? by Peter Hütmannsberger
Comm 857 Pepys' viol, by Peter Forrester
Comm 858 The cittern in Italy - notes, observations and speculations, by Peter Forrester
Comm 859 A bore measurement tool, by R H Cronin

Fomrhi Quarterly 49, Oct 1987

Hotteterre traverso, Leningrad, by Felix Raudonikas.
Mulhouse traverso, van Leeuwen.
Naust traverso, Leningrad, by Felix Raudonikas.
Comm 826 Thomas Ling, 1787-1851, reed maker, by Maurice Byrne
Comm 827 Lewis, a flute case maker, by David L Smith
Comm 828 More thoughts on woodwind bore measurement, by Robert H Cronin
Comm 829 What do we mean by A=415, by Jeremy Montagu
Comm 830 A=415, by Nicolas Meeùs
Comm 831 A=415, by John Barnes
Comm 832 Re: comment on what do we mean by A=415, by Dave Law
Comm 833 What means A=415, by D Jacques Way
Comm 834 A=415 and unequal temperaments, by Mark Lindley
Comm 835 Tuning an unequal temperament using an equal temperament pitchmeter, by Roy Chiverton
Comm 836 European music wire making places, by Remy Gug
Comm 837 Wire drawing and working conditions, by Remy Gug
Comm 838 The case of the mythical kinks, by Nicolas Meeùs
Comm 839 Response to Meeùs on the bowed string, by Ephraim Segerman
Comm 840 An embryonic bass bar, by Ephraim Segerman
Comm 841 The apparent geometry of Jakob Stainer, by Mark Smith

Fomrhi Quarterly 48, Jul 1987

Comm 805 Henning: Musica Maximiliana, Ekkehart Stegmiller, by Jeremy Montagu
Comm 806 Young: 2500 historical woodwind instruments, by Jeremy Montagu
Comm 807 Remnant: English bowed instruments from Anglo-Saxon to Tudor times, by Jeremy Montagu
Comm 808 Page: Voices & instruments of the middle ages - instrumental practice and songs in France 1100-1300, by Jeremy Montagu
Comm 809 Page: Voices & instruments of the middle ages - instrumental practice and songs in France 1100-1300, by Ephraim Segerman
Comm 810 Praetorius: Syntagma Musicum I & II (tr Crookes), by Ephraim Segerman
Comm 811 Montagu: Bate collection of historical instruments - supplement to the 1976 catalogue, by Ephraim Segerman
Comm 812 The new Grove dictionary of musical instruments, by Jeremy Montagu (I)
Comm 813 What's wrong with early music, by Christopher Page
Comm 814 Recent changes in early music, by Ephraim Segerman
Comm 815 Clamps for woodwind parts, by Charlie Wells
Comm 816 The Clinton system clarinet, by Nicholas Shackleton
Comm 817 John Hale, by Nicholas Shackleton
Comm 818 Update to international check-list of locations and citations of early oboe reeds and accessories, by Geoffrey Burgess
Comm 819 The musical uses of the word consort, by Ephraim Segerman
Comm 820 Discussion of the physics of bowing - response to Comm 794, by Ephraim Segerman
Comm 821 Phosphorous iron music wire, by Richard Shann
Comm 822 Determining wood thickness in unopened musical instruments, by Peter Armitage
Comm 823 The English guitar etcetera, by Donald Gill
Comm 824 Vihuela and José Romanillos, by Donald Gill
Comm 825 17th century guitar woodwork, by Peter Forrester

Fomrhi Quarterly 47, Apr 1987

Comm 782 Vierundzwandzigsteljahrschrift der internationalen Maultrommel-virtuosengenossenschaft 3, 1987, by Jeremy Montagu
Comm 783 Chanter, the journal of the Bagpipe Society, vol.1, part 2, '86/'87, by Jeremy Montagu
Comm 784 Ringve Museum: Exhibition catalogue 1987, by Jeremy Montagu
Comm 785 Philidor: March for two pairs of kettledrums, by Jeremy Montagu
Comm 786 Page: Voices & instruments of the middle ages - instrumental practice and songs in France 1100-1300, by Jeremy Montagu
Comm 786 Remnant: English bowed instruments from Anglo-Saxon to Tudor times, by Jeremy Montagu
Comm 787 Stradner: Playing practice and instrumentation around 1500 as represented by Virdung's Musica Getutscht, by Roy Chiverton
Comm 788 The new Grove dictionary of musical instruments, by Ephraim Segerman (G)
Comm 789 A catalogue of surviving instruments, by Greg Lewin
Comm 790 On the Zängelmass, by Richard Shann
Comm 791 Computer programs for the conversion of cents to Hertz, by Robert Goodwin, Alan Mills
Comm 792 Thoughts on Comm 755, by Carl Willetts
Comm 793 On chemical analysis of the wood of historical bowed instruments, by Remy Gug
Comm 794 Inductive meter to determine wood thickness of unopened musical instruments, by Fried Manders
Comm 795 The bowed string, by Nicolas Meeùs
Comm 796 Vihuela and José Romanillos, by Harvey Hope
Comm 797 The 17th century gittern and bell gittern, by Donlad Gill
Comm 798 Was the English guitar a guitar or a cittern, by Stuart Walsh
Comm 799 A method for the construction of the rib template for a lute, by D. Kershaw
Comm 800 A technical database management program for woodwind instrument makers, by Ardal Powell
Comm 801 A reed-scraping tool, by David E Owen
Comm 802 The Bassano, HIE(RO).S, !!, Venice discussion, by Maggie Lyndon-Jones
Comm 803 Restoration of an early clarinet, by Charlie Wells
Comm 804 A profile of Mr Ling - English oboe reeds around 1800, by Geoffrey Burgess

Fomrhi Quarterly 46, Jan 1987

List cembalo, Ruckers genootschap, Antwerpen.
List Edinburgh University collection.
Comm 767 Bang Mather, Lasocki: The art of preluding, 1700-1830 for flutists, oboists, clarinettists and other performers, by Jeremy Montagu
Comm 768 The new Grove dictionary of musical instruments, by Jeremy Montagu (H)
Comm 769 The historic clarinet exhibition at Edinburgh, August 1986, by Jeremy Montagu
Comm 770 The new Grove dictionary of musical instruments, by Ephraim Segerman (E-F)
Comm 771 Re: Grove review: double bass, by R Slatford
Comm 772 A table for violin family string diameters and tensions, by Ephraim Segerman
Comm 773 Response to an attack on modern catlines, by Ephraim Segerman
Comm 774 A 1656 Tabley manuscript: on viol players, cittern and gittern, by Ephraim Segerman
Comm 775 The wood under the varnish, by Ephraim Segerman
Comm 776 Nut groove diameters on a Sellas extended-neck lute, by Ephraim Segerman
Comm 777 Unhappy, by Nicolas Meeùs
Comm 778 The origin of the chromatic keyboard layout, by Nicolas Meeùs
Comm 779 Addresses, by Cary Karp
Comm 780 Artificial ivory rings for woodwind instrumentsby A M Desforges

Fomrhi Quarterly 45, Oct 1986

List Royal College of Music, London.
List woodwind, Bate collection, Oxford.
Comm 745 Haine, Meeùs: Dictionaire des facteurs d'instruments de musique en Wallonie et à Bruxelles etc., by Jeremy Montagu
Comm 746 Mactaggart: Musical instruments in the 1851 exhibition, by Jeremy Montagu
Comm 747 Weston: Samuel Hughes ophicleidist, by Jeremy Montagu
Comm 748 Chanter, the journal of the Bagpipe Society, vol.1, part 1, '86, by Jeremy Montagu
Comm 749 The new Grove dictionary of musical instruments, by Jeremy Montagu (G)
Comm 750 The new Grove dictionary of musical instruments, by Ephraim Segerman (D)
Comm 751 More on Longman, Lukey & Broderip, by Jeremy Montagu
Comm 752 Made for music - the Galpin Society's 40th anniversary, by Jeremy Montagu
Comm 753 Mersenne, Mace and speed of playing, by Jeremy Segerman
Comm 754 A bibliography of 18th century sources relating to crafts, manufacturing and technology, by T N McGeary
Comm 755 What has gone wrong with the early music movement, by Bill Samson
Comm 756 What is a simple lute, by Bill Samson
Comm 757 A reply to Comm 742, by Peter Forrester
Comm 758 A follow-on to Comm 739, by Donald Gill
Comm 759 Untitled (comments on the chitarra battente)by Harvey Hope
Comm 760 Untitled (craftsmanship of Nürnberg horns), by Bob Barclay
Comm 761 Bore gauging - some ideas and suggestions, by Ken Williams
Comm 762 Woodwind bore measuring tools, by Cary Karp
Comm 763 Untitled (on measuring tools and modems), by Charles Stroom
Comm 764 A preliminary check-list of iconography for oboe-type instruments, reeds and players, 1630-1830, by Bruce Haynes
Comm 765 Happy, happy transposition, by Richard Shann
Comm 766 The way from Thoiry to Nürnberg, by Remy Gug

Fomrhi Quarterly 44, Jul 1986

Comm 727 The new Grove dictionary of musical instruments, by Jeremy Montagu (F)
Comm 728 Neuhaus: The baroque flute fingering book, by Jeremy Montagu
Comm 729 The new Grove dictionary of musical instruments, by Jeremy Segerman (Cj-Cz)
Comm 730 Coates: Geometry proportion and the art of lutherie, by William Samson
Comm 731 Selection of wood according to a German document, by Remy Gug
Comm 732 Converting Hertz to cents and vice versa, by Jeremy Montagu
Comm 733 What should measuring tools be made of, by Jeremy Montagu
Comm 734 Helpful recordings, by R White
Comm 735 Happy tranposition?!, by Nicolas Meeùs
Comm 736 More on the proportional compass, by Richard Shann
Comm 737 Von Radolt's instructions to lute players (Vienna 1701), by Martyn Hodgson
Comm 738 On extended peghead lutes, by Martyn Hodgson
Comm 739 Violas, vihuelas and iconography, by Peter Forrester
Comm 740 Citterns and chitarra battente, by Peter Forrester
Comm 741 Chitarra battente, further comments, by Donald Gill
Comm 742 Response to Comm 739 and Comm 740, by Ephraim Segerman
Comm 743 More on early gut string diameter, by Ephraim Segerman
Comm 744 Moiré contours, by John McLennan

Fomrhi Quarterly 43, Apr 1986

Bass recorder, Bergstrøm.
Eerens traverso, van Leeuwen.
List Edinburgh University collection.
List Société des Amis du Musée Instrumental, Paris. ]
Comm 688 Bassart: The sound of the fortepiano: a discography of music on early pianos, by Jeremy Montagu
Comm 689 Hamber, Stanners: Musical instruments through the ages, by Jeremy Montagu
Comm 690 Haynes: Music for oboe, 1650-1800: a bibliography, by Jeremy Montagu
Comm 691 Vierundzwandzigsteljahrschrift der internationalen Maultrommel-virtuosengenossenschaft 2, 1985, by Jeremy Montagu
Comm 692 Mozart: A treatise on the fundamental principles of violin playing, (Knocker), by Jeremy Montagu
Comm 693 Un musée aujourd'hui - des facteurs d'instruments de musique, by Jeremy Montagu
Comm 694 Pasquali: The art of fingering the harpsichord; illustrated with examples, etc 1757, by Jeremy Montagu
Comm 695 Jones: Musical and poetical relicks of the Welsh bards, preserved by tradition, etc 1784, by Jeremy Montagu
Comm 696 Kjeldsberg: Piano i Norge, by Odd Aanstad
Comm 697 The new Grove dictionary of musical instruments, by Jeremy Montagu (D-E).
Comm 698 The new Grove dictionary of musical instruments, by Ephraim Segerman (Ca-Ci)
Comm 699 Are computers anything for us, by Cary Karp
Comm 700 Untitled (on computers) by Maggie Lyndon-Jones
Comm 701 On computers, typewriters, etc, by Marc Champollion
Comm 702 Untitled (non-keyboard baroque temperament), by Barry Haynes
Comm 703 A matter of temperament, by Martyn Hodgson
Comm 704 The proportional compass, by Remy Gug
Comm 705 A simple and cheap hygrometer, by Ture Bergstrøm
Comm 706 Digital and other calipers, by Bert van Leeuwen
Comm 707 Modification and sharpening of twist drills, by Bert van Leeuwen
Comm 708 Dehumidifiers, by Harvey Hope
Comm 709 Chitarra battente, by Harvey Hope
Comm 710 Vihuela, by Harvey Hope
Comm 711 An experimental method, by Nick Odell
Comm 712 On extended lutes, by Ephraim Segerman
Comm 713 Napolitan mandolins, wire strengths and violin stringing, by Eprhaim Segerman
Comm 714 Round bridges: the geometry of clearance angles, by Ephraim Segerman
Comm 715 Flat bridges I: focus on the lira da braccio, by Ephraim Segerman
Comm 716 Lyra and other viols that played from tablature, by Ephraim Segerman
Comm 717 Untitled, by L A Esteves Pereira
Comm 718 Double, double, toil and trouble, by Richard Shann
Comm 719 Enquiries, by Marc Champollion
Comm 720 Little French harpsichord plan, as asked for by Geza Vojnic, by Marc Champollion
Comm 721 Biblical instruments - further to Comm 672, by Jeremy Montagu
Comm 722 On the skill of the Nürnberg brass instrument makers, by Jeremy Montagu
Comm 723 Untitled (the pitches of flutes), by Rod Cameron
Comm 724 Building and playing a Narh, by Paul Madgwick
Comm 725 A peculiar Fornari oboe, by Alfredo Bernardini
Comm 726 Changes at Prague, by Graham Lyndon-Jones

Fomrhi Quarterly 42, Jan 1986

Comm 667 Fluke: Victorian reed organs and harmoniums, by Jeremy Montagu
Comm 668 Journal of the Australian Association of musical instrument makers, Aug '85, by Jeremy Montagu
Comm 669 Myers: The Glen account book 1838-1853, by Jeremy Montagu
Comm 670 Simon: Händel: a celebration of his life and times, by Susan Wollenberg
Comm 671 The new Grove dictionary of musical instruments, by Jeremy Montagu (C)
Comm 672 The new Grove dictionary of musical instruments, by Ephraim Segerman (Bb-Bz)
Comm 673 A return visit to Venice, by Jeremy Montagu
Comm 674 A reamer made of aluminium, by Gerhard Janke
Comm 675 Another reamer-saving counterbore, by Jon Swayne
Comm 676 Workshop ideas for woodwinds, by Jon Swayne
Comm 677 Further to Cary's Comm 655, by Jeremy Montagu
Comm 678 The FoMRHI network, by Cary Karp
Comm 679 Comments on Comm 666 on the Swedish gauge system, by Cary Karp
Comm 680 Ruckers doubles: the sixth hypothesis, by Nicoals Meeùs
Comm 681 Early pianos at Ipswich, by Jon Barnes
Comm 682 Bending in San Franscisco, by Robert Greenberg
Comm 683 18th century German and French pitches, by Ephraim Segerman
Comm 684 An exceptional G-sharp in Milan, by Mark Lindley
Comm 685 Early instrument news from Yugoslavia, by Geza Vojnic
Comm 686 A letter to J. Montagu, by Andrew Bashford
Comm 687 Angled bridges and J bars on lutes, by Ephraim Segerman

Fomrhi Quarterly 41, Oct 1985

Comm 643 Nema, Early music in education, by Jeremy Montagu
Comm 644 Good: The Eddy collection of musical instruments; a check-list, by Jeremy Montagu
Comm 645 Kunitachi College, Tokio: Catalogue 3, Bowed stringed-instruments, by Jeremy Montagu
Comm 645 Kunitachi College, Tokio: Catalogue 4, Plucked stringed-instruments, by Jeremy Montagu
Comm 645 Kunitachi College, Tokio: Catalogue 5, Harp; Lyre, by Jeremy Montagu
Comm 646 The new Grove dictionary of musical instruments, by Jeremy Montagu (B)
Comm 647 The new Grove dictionary of musical instruments, by Ephraim Segerman (Ba)
Comm 648 Reamer-saving counterbores, by Bob Marvin
Comm 649 A flexible recorder, by Bob Marvin
Comm 650 Apologies to Sverre, by Bob Marvin
Comm 651 A Bassano flauto, by Bob Marvin
Comm 652 Tuning recorders, by Bob Marvin
Comm 653 Tuning the traverso, by Jan Bouterse
Comm 654 Recorder voicing structures, by Timothy Woods
Comm 655 FoMRHI communication, by Cary Karp
Comm 656 A Greenlandic drum, by David Z Crookes
Comm 657 Some developments in Spanish musical life, by Colette Harris
Comm 658 A flying visit to Italy, by Jeremy Montagu
Comm 659 Speculation on Memling's tromba marina, by Philip Davies
Comm 660 Comments on Comm 629 on vihuelas, by Donbald Gill
Comm 661 Discussion of points on violas and vihuelas in Comm 660, by Ephraim Segerman
Comm 662 On cammer-ton and on the sizes of lutes, by Martyn Hodgson
Comm 663 The stringing of a baroque guitar, by Martyn Hodgson
Comm 665 Ruckers doubles - a survey of the theories, by Richard Shann
Comm 665 Some ways with means, by Ephraim Segerman
Comm 666 Swedish gauge system, by Remy Gug

Fomrhi Quarterly 40, Jul 1985

Bressan recorder from Bate collection, Oxford.
List Metropolitan Museum of Art, New York.
Terton recorder from Haags Gemeente Museum, by Charles Stroom
Comm 621 The new Grove dictionary of musical instruments (A), by Ephraim Segerman
Comm 622 Barnes: Making a spinet by traditional methods, by Richard Shann
Comm 623 Ruckers transposing double harpsichords, by John Shortridge
Comm 624 Authentic and all that jazz, by David J Way
Comm 625 Axioms for archaeology, by David J Way
Comm 626 Uniformity in old wire, by David J Way
Comm 627 Keyboard pitch in the 18th century, by Cary Karp
Comm 628 The case of the unknown scholar and the missing lute, by Martyn Hodgson
Comm 629 Response to Comm 610 on vihuelas, by Ephraim Segerman
Comm 630 Pitch notation: a plea to end confusion, by Arnold Myers
Comm 631 Comments on Comm 610 (vihuelas), by Donald Gill
Comm 632 A closer look at pitch ranges of gut strings, by Ephraim Segerman
Comm 633 Praetorius, Meeùs and the English viols, by Ephraim Segerman
Comm 634 The Bohemian wing, by Lukas Matousek
Comm 635 Reconstruction of the harpate wing, by David Z Crookes
Comm 636 Some instruments of skomorokhi from the 1630s, by David Z Crookes
Comm 637 Further to Com 613, by David Z Crookes
Comm 638 The new Grove eunuch-flute article, by David Z Crookes
Comm 639 Some measurements techniques for recorders, by Charles Stroom
Comm 640 Two links with antiquity: Kundera's zert and the zhaleyka, by David Z Crookes
Comm 641 The microwave way: drying boxwood fast and easy, by Jan Bouterse
Comm 642 Report about our researches in historical brass metal, by Max and Heinrich Thein

Fomrhi Quarterly 39, Apr 1985

List Société des Amis du Musée Instrumental, Paris.
Comm 600 Fischer: The renaissance sackbut and its use today, by Jeremy Montagu
Comm 601 Barnes: Making a spinet by traditional methods, by Jeremy Montagu
Comm 602 Schott: The historical harpsichord, vol.1. by Jeremy Montagu
Comm 603 Biber: 16 Rosenkrantzsonaten (record) by Jeremy Montagu
Comm 604 The new Grove dictionary of musical instruments (A) by Jeremy Montagu
Comm 605 The new Grove dictionary of musical instruments, by Ephraim Segerman.
Comm 606 Karp: The pitches of 18th century strung keyboard, by Ephraim Segerman
Comm 607 Praetorius, Segerman and the English viols, by Nicolas Meeùs
Comm 608 An unpublished letter by Michael Praetorius, by Nicolas Meeùs
Comm 609 More on Denis Gaultier, Sohne, Zarlino et al, by Mark Lindley
Comm 610 The vihuela, by Len McCormack
Comm 611 What was the viole d'aline, by David Z Crookes
Comm 612 What was the Bohemian wing? by Daivd Z Crookes
Comm 613 Response to Crookes's Comm 589 and Comm 590, by Ephraim Segerman
Comm 614 Grove on the chekker, by Richard Shann
Comm 615 Provisional check-list of surviving clavicytheria, by Peter Bavington
Comm 616 Oil and varnish, by Ann Mactaggart
Comm 617 Pale drying oil, by Wesley Wadsworth
Comm 618 Start lean, finish fat, by Peter Forrester
Comm 619 Method for drilling the hinge pin hole in the foot of a traverso, by Bert van Leeuwen
Comm 620 Untitled, by S Kolberg

Fomrhi Quarterly 38, Jan 1985

List woodwind, Bate collection, Oxford.
Comm 578 The new Grove dictionary of musical instruments 3 vol, by Jeremy Montagu.
Comm 579 Bingham: Patents for inventions related to musical instruments, 1694-1866, by Jeremy Montagu
Comm 580 Bingham: Harmony for the flute, by Jeremy Montagu
Comm 581 Stacey, Wishart: Bagpipes & hurdy-gurdies, by Jeremy Montagu
Comm 582 Woodfield: The early history of the viol, by Jeremy Montagu
Comm 583 Mactaggart: Practical guilding, by Jeremy Montagu
Comm 584 Taylor: The musician's piano atlas, suppl 1. by Jeremy Montagu
Comm 585 List of northern French makers, by R Delassus
Comm 586 Re: scraping plane in Comm 571, by Arthur F Young
Comm 587 Materials and tone quality, by Robert Cronin
Comm 588 A contribution to authenticity in the art of drum making, by Ian Gould
Comm 589 Did nothing survive from Roman antiquity? by David Z Crookes
Comm 590 Some Nietzschean aphorisms to stir up trouble, by David Z Crookes
Comm 591 Some historical data on harpsichords, by Richard Shann
Comm 592 Bentsides again, by Richard Shann
Comm 593 The pitch of Ruckers instruments, by Richard Shann
Comm 594 Possible reconstruction of Stradivarius cellos, by Mark Smith
Comm 595 Baroque cello spikes, by Mark Smith
Comm 596 Response to Crighton's Comm 559, by Ephraim Segerman
Comm 597 English viol sizes and pitches, by Ephraim Segerman
Comm 598 What Praetorius wrote on English viols, by Ephraim Segerman
Comm 599 King Henry VIII's stump, by Roy Chiverton

Fomrhi Quarterly 37, Oct 1984

List woodwind, Bate collection, Oxford.
Comm 556 Lindley: Lutes, viols & temperaments, by Martyn Hodgson
Comm 557 Viol bellies and bridges, by Thomas Munck
Comm 558 Frau Musica detected, by Uta Henning
Comm 559 Partial response to Comm 442, Comm 490 & Comm 491 (pitch standards), by G Crighton
Comm 560 A tiny harp made from bog oak, by David Z Crookes
Comm 561 Progress report on the kithara, by David Z Crookes
Comm 562 More cello spikes and lute strings, by David Z Crookes
Comm 563 Why gut treble strings are the best, by Ephraim Segerman
Comm 564 A thicknessing procedure for baroque and modern bows, by Ephraim Segerman
Comm 565 Wood for bows, by Rod Jenkins
Comm 566 A reply to Comm 505 (Overton), by Paul Gretton
Comm 567 Making mild steel (flat-stock) reamers, by Andy Willoughby
Comm 568 To hell with whither - it's what that counts, by Jeremy Montagu
Comm 569 The transition from octave to unison stringing, by Richard Shann
Comm 570 The colour of the Ruckers' wood-grain paper, by Richard Shann
Comm 571 Scraping plane for mouldings in wood, by Robert Greenberg
Comm 572 Bending bentsides using steam or hot-iron, by Robert Greenberg
Comm 573 Re: Comm 540, by David J Way
Comm 574 Harpsichord bottom screws, by David J Way
Comm 575 Tentative observations about barred soundboards, by David J Way
Comm 576 Non-ferrous harpsichord wire, by David J Way
Comm 577 Installing soundboard wet and dry, by David J Way

Fomrhi Quarterly 36, Jul 1984

List woodwind, Bate collection, Oxford.
Comm 538 Italian two-manual harpsichords, by Denzil Wraight
Comm 539 Comments, by David J Way
Comm 540 Bending harpsichord bentsides, by Richard Shann
Comm 541 Further to Comm 529, by Andrew Willoughby
Comm 542 Making a Roman cornu, by Peter Barton
Comm 543 Response to Comm 533, by Paul Hailperin
Comm 544 Making a bodhrán without steaming, by David Z Crookes
Comm 545 On making stitched drumheads, by Ian Gould
Comm 546 Three unrelated rebukes, by David Crookes
Comm 547 Figures relevant to Comm 546, by Ephraim Segerman
Comm 548 Steel music wire, by Cary Karp
Comm 549 Reply to Comm 526, by Ephraim Segerman
Comm 550 The lengths of bows in the baroque, by Ephraim Segerman
Comm 551 Converting note names & cents to frequency values by micro computer, by David E Owen
Comm 552 Quarna: vivera di Strumenti, by Jeremy Montagu
Comm 553 Lund: The sounds of prehistoric Scandinavia (record), by Jeremy Montagu
Comm 554 Praxis vol.1, Studi e testi sull' interpretazione della musica, 1983, by Jeremy Montagu
Comm 555 Lindley: Lutes, viols & temperaments, by Jeremy Montagu

Fomrhi Quarterly 35, Apr 1984

List Royal College of Music, London.
List woodwind, Bate collection, Oxford.
Comm 522 The Icelandic langspil, by Davd Z Crookes
Comm 523 Trends towards historical accuracy in popular design, by Ephraim Segerman
Comm 524 Was the violin a French invention after all? by Ephraim Segerman
Comm 525 Fingerboard length on the baroque violin, by Ephraim Segerman
Comm 526 Comments on Bull. Supp. 34: O'Kelly table, Jospeh M O'Kelly
Comm 527 Lute string calculation and identification, Joseph M O'Kelly
Comm 528 Further on early manufacture of gut strings, by Angelo Zaniol
Comm 529 Further on Comm 514, by Angelo Zaniol
Comm 530 Notes on Theobald Böhm's article on the open G-sharp key, by Th Böhm
Comm 531 The Mary Rose shawm or dulcina, by Graham Lyndon-Jones
Comm 532 The fornication of recorder windways, by Bob Marvin
Comm 533 Miscellaneous comments, by Cronin
Comm 534 The oldest organ in Christendom, by Jeremy Montagu
Comm 535 Using the pitchmeter and digituner, by Dennis and Margaret Crowe
Comm 536 Some thoughts on the use of renaissance legends, David Z Crookes
Comm 537 Flemish transposing harpsichords - some rejoinders answered, by Richard Shann

Fomrhi Quarterly 34, Jan 1984

Comm 501 The UKIC and V&A Christmas symposium, by Jeremy Montagu
Comm 502 Some comments on Comm 477, by Paul Gretton
Comm 503 Effects applicable to the tuning of instruments with a conical bore (replaces Comm 457) by Geert Jan van der Heide
Comm 504 How to make a baroque trumpet (II), by Geert Jan van der Heide
Comm 505 Comments on Comm 483: review of Der Zink, by Robert Overton
Comm 506 18th century success of copal varnish, by Ephraim Segerman
Comm 507 Lunatic crumhorn, by David Z Crookes
Comm 508 Observations prelusive to reconstructing the kithara, by David Z Crookes
Comm 509 Conjectures about making harpsichord bentsides, by R K Lee
Comm 510 The key system of the organistrum, by Olov Gibson
Comm 511 Dean castle: van Raalte collection organs, by Martin Coetze
Comm 512 Drilling bristle-holes in wooden jacks, by William Groom
Comm 513 Comments on Comm 488: the fingered 16', by Nicolas Meeùs
Comm 514 Recorder voicing: answers to questions by Andrew Willoughby
Comm 515 Henkel: Beiträge zum historischen Cembalobau, by Denzil Wraight
Comm 516 Tibia-Calendrium 1984, by Jeremy Montagu
Comm 517 Barclay: Anatomy of an exhibition: the look of music, by Jeremy Montagu
Comm 518 Mactaggart: Painting and marbling harpsichord cases, by Jeremy Montagu
Comm 519 Gernhardt, Henkel, Schrammek: Musikinstrumenten Museum Leipzig band 6 Orgelinstrumente, Harmoniums, by Jeremy Montagu
Comm 520 van Acht: Volksmuziek en volksmuziekinstrumenten in Europa, Haags Gemeente Museum, by Jeremy Montagu
Comm 521 Brauchli: Carlos Seixas's nine sonatas for clavichord (record), by Jeremy Montagu

Fomrhi Qurterly 33, Oct 1983

Comm 484 Notes on a painting by Sabastino Lazzari, by John Downing
Comm 485 The NF treble recorder at the Museum der Stadt Meran, by Angelo Zaniol
Comm 486 Geometrical description and analysis of instrument shapes; considerations on early 16th century lute construction, by Jorn Steinberg
Comm 487 Bone for peg decoration, by Rod Jenkins
Comm 488 The fingered 16' on the harpsichord, by Richard Shann
Comm 489 Comments on Comm 417 and Comm 420, by Richard Samson
Comm 490 Mersenne, Praetorius and the English viol pitch standard: problems of the history of early pitches, by Nicolas Meeùs
Comm 491 Response to Ccomm 490 on English viol pitches, by Ephraim Segerman
Comm 492 Untitled (tuning conical bore woodwind instruments), by Bob Marvin
Comm 493 Fingering the Gaita galega: the horse speaks, by Peter Stacey
Comm 494 Health-shop historicity, by David Z Crookes
Comm 495 No posterity for the eunuch flute, by David Z Crookes
Comm 496 Schrammek, Herre: Museum Musicum Leipzig, by Uta Henning
Comm 497 Waterhouse: The proud bassoon (catalogue), by Jeremy Montagu
Comm 498 Henkel: Musikinstrumenten Museum Leipzig band 4 Clavichorde, by Jeremy Montagu
Comm 498 Heyde: Musikinstrumenten Museum Leipzig band 5 Hörner und Zinken, by Jeremy Montagu
Comm 499 Stradner: Linzer Musikinstrumente der Bruckner-Zeit, Linz, by Jeremy Montagu
Comm 500 Trouble with Comm 302 varnish, by Ephraim Segerman
Comm 500b Untitled (and some more), by Kolberg

Fomrhi Quarterly 32, Jul 1983

Comm 464 The sizes and pitches of Italian archlutes, by Martyn Hodgson
Comm 465 The mean-tone, by Cary Karp
Comm 466 Some notes on cittern fingerboards and stringing, by Peter Forrester
Comm 467 On restoration, by David Way
Comm 468 Lost traditions - or are they, by Jeremy Montagu
Comm 469 Portatives with reservoirs, by Geoff Bridges
Comm 470 Moisture blocking of fipple flutes, by Carl Willetts
Comm 471 Comments on bows and their screws, taps, dies and lathes, by G A Mather
Comm 472 Put the gurus out to grass, by David Z Crookes
Comm 473 Comments on Comm 448, by Jeremy Montagu
Comm 474 Acid staining of hardwoods, by Carl Willetts
Comm 475 Woodwind bore oil, by Carl Willetts
Comm 476 How to make your own mouldings in wood, by William D Hendry
Comm 477 What is a historical instrument? by Ephraim Segerman
Comm 478 Cheape: A check-list of the bagpipes in the Edinburgh collection, by Jeremy Montagu
Comm 479 Cross: The Shrine to Music Museum, vol 2 instruments of Burma, India, Nepal, Thailand, Tibet, by Jeremy Montagu
Comm 480 Vorreiter: Die schönsten Musikinstrumente des Altertums, by Jeremy Montagu
Comm 481 Bingham, Catalogue of old brasswind instruments, by Jeremy Montagu
Comm 482 Ueno Gakuen College Tokio: Catalogue of the European musical instruments of the 17th-19th century, by Jeremy Montagu
Comm 483 Overton: Der Zink, Geschichte, Bauweise and Spieltechnik eines historischen Musikinstruments, by Paul Gretton

Fomrhi Quarterly 31, Apr 1983

Comm 448 The trapozoidal triangle - a practical solution, M Glover
Comm 449 Spoon-castagnetts of Turkey, by Nikolaus Harders
Comm 450 Notes on copyright(©), by P and A Mactaggart
Comm 451 Another recipe for copal varnish, by Paul Gretton
Comm 452 The story of a harpsichord string, by Remy Gug
Comm 453 A double recorder, by Bob Marvin
Comm 454 Workshop gimmicks, by Len Stanners
Comm 455 Lettering, by G Bridges
Comm 456 On the size of Italian theorboes and archlutes before 1650, by Ephraim Segerman
Comm 457 Tuning instruments having a conical bore, by Geert Jan van der Heide
Comm 458 Early 18th century bows and screws, by Ephraim Segerman
Comm 459 A note on mean temperament, by Ephraim Segerman
Comm 460 Wood contraction and instrument bores, by Ephraim Segerman
Comm 461 Transferring soundboard designs, by P and A Mactaggart
Comm 462 Lane: The trombone in the middle ages and the renaissance, by Jeremy Montagu
Comm 463 Seyfritt: musical instruments in the Dayton C. Miller collection, by John Cousen

Fomrhi Quarterly 30, Jan 1983

Comm 439 Heinrich Schütz's strings, by Cary Karp
Comm 440 Ferrous wire of high tensile strength ca. 1600, by Ephraim Segerman
Comm 441 Blown resonance of baroque transverse flute: V tolerances of tones, by Felix Raudonikas
Comm 442 On German, Italian and French pitch standards in the 17th and 18th century, by Ephraim Segerman
Comm 443 Converting note names to frequency values, by Cary Karp
Comm 444 Relative string lengths of the crwth, by Jeremy Montagu
Comm 445 Fairly, Flutes, flautists and makers, by Jeremy Montagu
Comm 446 Royal College of Music Museum Catalogue part I, European wind instruments, by Jeremy Montagu
Comm 447 Campbell: A check-list of the free reed, miscellaneous and ancillary instruments in the Edinburgh collection, by Jeremy Montagu

Fomrhi Quarterly 29, Oct 1982

Comm 426 Zen-on: The recorder collection of Frans Brüggen, by Jeremy Montagu
Comm 427 James: A word of two on the flute (1826), by Jeremy Montagu
Comm 428 Blades: A check-list of the percussion musical instruments in the Edinburgh collection, by Jeremy Montagu
Comm 428 Macauly: A check-list of the plucked and hammered string musical instruments in the Edinburgh collection, by Jeremy Montagu
Comm 429 Kjeldsberg: Musikinstrumenter ved Ringve Museum, by Jeremy Montagu
Comm 430 Boydell: The crumhorn and other renaissance windcap instruments, by Toni Moonen
Comm 431 Making unsoldered oboe staples, by Mary Kirkpatrick
Comm 432 Finishing lute soundboards, by Lawrence D Brown
Comm 433 Two possible sources of instrument-making timber, by Alan Mills
Comm 434 Perforating soundboard roses with scissors, by Ken Williams
Comm 435 Report on the Stuttgart harpsichord exhibition August 1982, by Marc Champollion
Comm 436 Converting cents to Hertz, by Robert Bigio
Comm 437 Speculations on the rote, by Ephraim Segerman
Comm 438 Strings for the violin family, by Ephraim Segerman

Fomrhi Quarterly 28, Jul 1982

List Musée Grobet, Labadie.
List Musikmuseet, Stockholm.
List Société des Amis du Musée Instrumental, Paris.
Comm 417 Computing lute rib shapes, by R J Peckham
Comm 418 Braga cathedral - gospel organ, by L A Esteves Pereira
Comm 419 Blown resonance of baroque transverse flute: IV the tone and the blowing process, by Felix Raudonikas
Comm 420 Lute action, by Lawrence D Brown
Comm 421 A new edition of Langwill's index, by William Waterhouse
Comm 422 Aguado: New guitar method, by Harvey Hope
Comm 423 Emery: A check-list of the bowed string musical instruments in the Edinburgh collection, by Jeremy Montagu
Comm 424 Dreieich Museum: Two catalogues of exhibitions (Flöten; Drehleier & Dudelsack), by Jeremy Montagu
Comm 425 Coover: Musical instrument collections, Catalogues, by Jeremy Montagu

Fomrhi Quarterly 27, Apr 1982

List Germanisches Nationalmuseum, Nürnberg.
Comm 403 A method for casting harpsichord roses, by John Paul
Comm 404 Woodwind bore measurement and analysis, by Greg Lewin
Comm 405 Drone system of the Lissieu musette, by R A Greensitt
Comm 406 Woodwind bore oil, by Cary Karp
Comm 407 Orpharion news, by Ephraim Segerman
Comm 408 More mid- 16th century information on Spanish gracing, by Ephraim Segerman
Comm 409 Renaissance and baroque bows, by Ephraim Segerman
Comm 410 Hizler's tenor violin, by Ephraim Segerman
Comm 411 On Memling's psaltery, by Ephraim Segerman.
Comm 412 Proposed construction of a medieval fiddle, by Ephraim Segerman
Comm 413 All-gut bass strings, by Ephraim Segerman
Comm 414 All-nylon strung lutes, by Robert Irvine
Comm 415 More on Comm 375, by Hen van Dijk
Comm 416 Schrammek, Herre, by Jeremy Montagu

Fomrhi Quarterly 26, Jan 1982

Comm 388 Yet more on organological terminology, by Jeremy Montagu.
Comm 389 Should museum instruments be used, by Jeremy Montagu
Comm 390 Construction of ivory cornetti and tuning cornetti at the sharp end, by Paul Gretton
Comm 391 Brass, by Cary Karp
Comm 392 A method of casting harpsichord roses, by John Paul
Comm 393 Keyboard restoration, by John Barnes
Comm 394 About restoration reports for fortepianos, by Jan Hermans
Comm 395 Construction of viol bellies by bending all staves, by Ephraim Segerman, John Duncalf
Comm 396 Production of plectrum from bird feathers, by Anatoly Lajaruzny
Comm 397 Soundhole evolution, by Anatoly Lajaruzny
Comm 398 A survey of graces in the renaissance and early baroque, by Ephraim Segerman
Comm 399 Mactaggart: Laying & decorating harpsichord papers, by Jeremy Montagu
Comm 400 Paul: Modern harpsichord makers, by Jeremy Montagu
Comm 401 Langwill: A check-list of the double-reed musical instruments in the Edinburgh collection, by Jeremy Montagu
Comm 402 Roche: A dictionary of early music, by Jeremy Montagu

Fomrhi Quarterly 25, Oct 1981

Comm 366 Restoration reports for two Broadwood pianos, by John Barnes
Comm 367 Browning harpsichord pins, by D Way
Comm 368 The nomenclature of plucked keyboard instruments, by Nicolas Meeùs
Comm 369 On renaissance flute design, by John Underhill
Comm 370 Mixed clavichord and spinette (with vibrato), by Bengt U Matern
Comm 371 Further to Comm 342, by Felix Raudonikas
Comm 372 Peg mill attached to a lathe, by Harold Steafel
Comm 373 Further to Still Shalmes (Comm 272), by Neil Buckland
Comm 374 Further to comments by Rein on Comm 307, A and P Mactaggart
Comm 375 Proposal for a medieval workshop, by Tim Hobrough
Comm 376 More on organological terminology - response to Comm 351, by Ephraim Segerman
Comm 377 Lute outlines - geometrical description, by William Samson
Comm 378 Report on the restoration of a violin, by I Watchorn
Comm 379 Thickness graduation of the Tourte bow - simple alternative, by Ephraim Segerman
Comm 380 Conservation of research information vs a playing collection, by Ephraim Segerman
Comm 381 Design of a viol belly, by Toon Moonen
Comm 382 On Talbot's measurements of viols, by Ephraim Segerman
Comm 383 Jansen: The bassoon, part XI, by Jeremy Montagu
Comm 384 UK Institute for Conservation: Conservation, archaeology & museums, by Jeremy Montagu
Comm 385 Canadian Conservation Institute: Care of musical instruments in Canadian collections, by Jeremy Montagu
Comm 386 Musikhistoriska Museet Stockholm: Studia instrumentorum popularis VII, by Jeremy Montagu
Comm 387 Montagu: Geschichte der Musikinstrumente in Mittelalter und Renaissance, by Jeremy Montagu

Fomrhi Quarterly 24, Jul 1981

Comm 351 On nomenclature - a rejoinder, by Jeremy Montagu
Comm 352 The lower bout back fold on English treble viols, by Jeremy Segerman
Comm 353 Restoration of a recorder edge, by Theo Miller
Comm 354 Sinking harpsichord soundboards, by David J Way
Comm 355 Fingering on the Gaita galega, by Paul Gretton
Comm 356 Bending massive bentsides, by Jan Kalsbeek
Comm 357 The business end (sharp end) of the cornetto, by Paul Gretton
Comm 358 Valves and mouthpieces for bagpipes, by Paul Gretton
Comm 359 The inverted mordent in late 16th and 17th century music, by Ephraim Segerman
Comm 360 An inventory of the Charles van Raalte Collection in instruments, by John Downing
Comm 361 Jansen: The bassoon, part X, by Jeremy Montagu
Comm 362 Taylor: The musician's piano atlas, by Jeremy Montagu
Comm 363 Myers: A check-list of the brass musical instruments in the Edinburgh University collection, by Jeremy Montagu
Comm 364 Nagy: Michael Haydn, ein Überblick über sein Leben, by Jeremy Montagu
Comm 365 Stewart: The Shrine to Music Museum, vol 1, keyed brass instruments, by Jeremy Montagu

Fomrhi Quarterly 23, Apr 1981

Comm 327 To study the embouchure hole form, by Felix Raudonikas
Comm 328 What was the flauto d'echo, by Jeremy Montagu
Comm 329 Covered strings for clavichords and square pianos, by John Barnes
Comm 330 How to make a baroque trumpet (I), by Geert Jan van der Heide
Comm 331 A temporary debarockant, by Julian Drake
Comm 332 Photogrammetric measurement, by Tim Hobrough
Comm 333 Devices for measuring the undercutting, by Cary Karp
Comm 334 Enigmatic bars, by Geoff Mather
Comm 335 String to soundboard proximity, by Geoff Mather
Comm 336 Early double reeds, by Bruce Haynes
Comm 337 English nomenclature of extended lutes, by Robert Spencer
Comm 338 Criteria for the naming of instruments, by Ephraim Segerman
Comm 339 On water-resistant glues, by J F Coutrait
Comm 340 On shafts and bearings for hurdy-gurdies, by Samuel Palmer
Comm 341 Lead in keyboards, by Joe Hermans
Comm 342 Organ pitch, by Dominic Gwynn
Comm 343 A string diameter on Mersenne's bass viol, by M Namreges
Comm 344 Ambiguity in Mersenne's use of Grosseur, by Ephraim Segerman
Comm 345 Warning, by Paul Gretton
Comm 346 Blumenfeld: The Syntagma Musicum Praetorius translated, by Jeremy Montagu
Comm 347 Carse: Musical wind instruments, Bate
Comm 348 Henkel: Musikinstrumenten Museum Leipzig band 2 Kielinstrumente, by Jeremy Montagu
Comm 348 Heyde: Musikinstrumenten Museum Leipzig band 3 Trompeten, Posaunen, Tuben, by Jeremy Montagu
Comm 349 Speer: Grundrichter Unterricht der musikalische Kunst oder Vierfaches musikalisches Kleeblatt, 1697, by Jeremy Montagu
Comm 350 Jansen: The bassoon, part VIII & IX, by Jeremy Montagu

Fomrhi Quarterly 22, Jan 1981

List Brussels Museum.
List Hill collection, Ashmolean Museum, Oxford.
Comm 317 Early music instruments from shipwrecks, lake dwellings and rivers, by Ian Morrison
Comm 318 Plane scraping for profit and pleasure, by Marcel Glover
Comm 319 The baroque guitar - one day course - Hope, by M O'Sea
Comm 320 Untitled (photogrammetrics and organology), by Marco Tiella
Comm 321 Lute construction - further comments, by John Downing
Comm 322 FoMRHI conference on pitch and transposition, by Malcolm Rose
Comm 323 The problem of nomenclature, by Jeremy Montagu
Comm 324 Why do some lutes have flattened backs, by William Samson
Comm 325 On the number of guts in a gut string, by Ephraim Segerman
Comm 326 Parrish: Johannes Tinctoris translated, by Christopher Page

Fomrhi Quarterly 22, Oct 1980

Comm 300 Lute soundboards - how were they fitted, by William Samson
Comm 301 Classification system of the pitches with various absolute height, by Felix Raudonikas
Comm 302 A simple, safe method for making pine resin varnish, John Duncalf and Ephraim Segerman
Comm 303 Building lute backs with a flattened section, by Philip Lourie
Comm 304 The forked shawm, by Jeremy Montagu
Comm 305 Electronic aids and their use in early music, by Chris Isbell
Comm 306 Laminated soundboards for harpsichords, by David Way
Comm 307 Painting harpsichords, by David Way
Comm 308 Making solid bentsides for harpsichords, by David Way
Comm 309 Thibault, Rokseth: Trois chansonniers Français du XV siècle, by David Fallows
Comm 310 Jansen: The bassoon, part VII, by Jeremy Montagu
Comm 311 Haine, de Keyser: Catalogue des instruments Sax au Musée Instrumental de Bruxelles, by Jeremy Montagu
Comm 312 Burney: An account of the musical performances in Westminster-Abbey, by Jeremy Montagu
Comm 313 Orcutt: The Stradivari memorial, by Jeremy Montagu
Comm 314 Dolmetsch: Personal recollections of Arnold Dolmetsch, by Jeremy Montagu
Comm 315 Nothern Renaissance Instruments, catalogue, by Jeremy Montagu
Comm 316 The master musicians of Jajouka at the Commonwealth Institute London (concert), by Jeremy Montagu

Fomrhi Quarterly 20, Jul 1980

List V&A Museum, London.
Comm 286 On the distinction between the hurdy-gurdy and the vielle-a-roue, by Jeremy Montagu
Comm 287 Further to Comm 275, by Robert Longstaff
Comm 288 Further to Comm 276, by Susann Palmer
Comm 289 A note on the belly construction of early English viols, by Ephraim Segerman
Comm 290 Making solid bentsides for harpsichords, Malcolm Rose
Comm 291 Painting keyboard instruments, by John Rawson
Comm 292 Making arcades for keyboard instruments, by John Rawson
Comm 293 Arcade cutting, by Michael Glover
Comm 294 A jig for use in arching and thicknessing viol front plates, by David Strahle
Comm 295 Further to Ccmm 295, by Donald Gill
Comm 296 Introduction to the small organ, by Dominic Gwynn
Comm 297 Tyler: The early guitar, by Harvey Hope
Comm 298 Jansen: The bassoon, part VI, by Jeremy Montagu
Comm 299 Harvey Hope: Italian baroque guitar (record), by Jeremy Montagu

Fomrhi Quarterly 19, Apr 1980

List Royal College of Music, London.
Comm 267 Lute body manufacture - the authentic way, by John Downing
Comm 268 Is restoration doomed, by John Rawson
Comm 269 Viol dimensions, by Peter Tourin
Comm 270 An Irish hurdy-gurdy in the National Museum Dublin, by Paul Doyle
Comm 271 An early gemshorn, by Michael Muskett
Comm 272 Styll shalmes, by Neil Buckland
Comm 273 More on drawings of keyboard instruments, by L A Esteves Pereira
Comm 274 Mandora and calachon, by Donald Gill
Comm 275 The hurdy-gurdy, by Susann Palmer
Comm 276 Palmer: The hurdy-gurdy, by Jeremy Montagu
Comm 277 Dürichen: Corrette's Method for learning to play the vielle-a-roue, by Doreen Muskett
Comm 278 Leguy: Précis de fracture d'anches renaissance, by A F Wood
Comm 279 Tibia 1/80 journal, by Jeremy Montagu
Comm 280 Haine: Adolphe Sax, by Jeremy Montagu
Comm 281 Jansen: The bassoon, part V, by Jeremy Montagu
Comm 282 Moonen: Drawings of four woodwind instruments in the Brussels Museum, by Philip McCrone
Comm 283 Ellis: Hanes y delyn yng Nghymru, by Jeremy Montagu
Comm 283 Ellis: The story of the harp in Wales, by Jeremy Montagu
Comm 284 Rans, Misschaert: Die nachtegael int wilde (record), by Jeremy Montagu
Comm 285 Rans, Misschaert: Die nachtegael int wilde (record), by M June Yakeley

Fomrhi Quarterly 18, Jan 1980

List Société des Amis du Musée Instrumental, Paris.
Comm 246 List of plans. author: Paris Conservatoire
Comm 247 Adhesive bonding in musical instrument construction, by Lawrence Brown
Comm 248 Response to Butler's Comm 228: more on titebond, by William Cumpiano
Comm 249 Adhesive for the cornetto maker, by Julian Drake
Comm 250 String keyboard instruments, by John Rawson
Comm 251 Some thoughts on manufacture and production, by Jeremy Montagu
Comm 252 More on computer catalogues, by Peter Holmes
Comm 253 Theory of viol design - I. by Ephraim Segerman
Comm 254 Making woodwind keys, by Robert Bigio
Comm 255 This quarter's good cause: the FoMRHI book list, by Tim Hobrough
Comm 256 Files and benches, by Tim Hobrough
Comm 257 Old keyboard tablature used in making organ pipes, by L A Esteves Pereira
Comm 258 Untitled, by Roger Spalding
Comm 259 Notes on the drawings and photographs of the liuto attiorbato by Choc in the V&A museum, by Philip Lourie
Comm 260 Position of bridge and bars regarding tone production, by Geoff Mather
Comm 261 Jansen: The bassoon, part IV. by Jeremy Montagu
Comm 262 Zeugnisse alter Musik XI, 1980, by Jeremy Montagu
Comm 263 Divisions, volume 1, no. 3. by Jeremy Montagu
Comm 264 Fuller: Mechanical musical instruments as a source for the study of notes inégales, by Jeremy Montagu
Comm 265 Tiella: Indirizzi di ricerca su strumenti pre-rinascimentali, by Jeremy Montagu
Comm 266 Brauchli: The renaissance clavichord I & II (records), by Jeremy Montagu

Fomrhi Quarterly 17, Oct 1979

Comm 228 Note on titebond, by Mark Butler
Comm 229 Blown resonance of baroque transverse flute: III influence of cork position alteration, by Felix Raudonikas
Comm 230 Small planes, by Ken Williams
Comm 231 Standards for instrument plans, by Ken Williams
Comm 232 On the information in instrument drawings, by Ephraim Segerman
Comm 233 A jig for preparing and glueing lute neck joints, by Mark Ellis
Comm 234 Parchment roses, by Ian Theakston
Comm 235 Parchment roses, by Paul Kemner
Comm 236 The collection of Ukranian folk instruments at Kiev, by Anatoly Zajaruzny
Comm 237 Dental acrylic, by Kevin Mercer
Comm 238 Jewelery in wood etc, by William Samson
Comm 239 Comment on Comm 227, by Ian Gould
Comm 240 Some original receipts, appertaining to the varnishes of lutes in Italy, by Peter Forrester
Comm 241 Crumhorns - a letter from Hanchet to Montagu.
Comm 242 Crafts Council Conservation Sourcebook, by Jeremy Montagu
Comm 243 Muskett: Method for the vielle or hurdy-gurdy, by Bryan Tolley
Comm 244 Toll: Bar Consort Earl Music (record), by Jeremy Montagu
Comm 245 Jansen: The bassoon, part II (plates) & III. by Jeremy Montagu

Fomrhi Quarterly 16, Jul 1979

Comm 208 Tolley: Making musical instruments, by Rick Baines
Comm 209 Hope: Baroque guitar (record), by Jeremy Montagu
Comm 210 Jansen: The bassoon, part II, by Jeremy Montagu
Comm 211 Musical instrument conservation and technology journal, by Jeremy Montagu
Comm 212 Divisions, volume 1, no. 2., by Jeremy Montagu
Comm 213 Ross: Musical instruments at the University of Iowa, by Jeremy Montagu
Comm 214 Diderot, viols and false tables, by David Miller
Comm 215 On baroque lute strings and tunings, by Ephraim Segerman
Comm 216 Acoustics, appearance and authenticity - are our priorities right, by William Samson
Comm 217 The 3 R's: responses, rejoinders and reminders to Comm 216, by Martyn Hodgson
Comm 218 Further to Comm 216, by Ephraim Segerman
Comm 219 Early 16th century lute reconstructions, by Martyn Hodgson
Comm 220 Tonal balance and bar depths, by William Samson
Comm 221 An acoustical problem, by Jeremy Montagu
Comm 222 On accuracy of measurements, by L A Esteves Pereira
Comm 223 On seasoning timber, by L A Esteves Pereira
Comm 224 A note on electronic tuning aids, by I H Gould
Comm 225 The cataloguing of instruments and associated references, by Peter Holmes
Comm 226 A serviceable early baroque flauto, by Bob Marvin
Comm 227 Making double reeds for renaissance wind instruments, by Kenton T Meyer and Edward L Kottick

Fomrhi Quarterly 15, Apr 1979

Comm 188a Ford: Making musical instruments, by Jeremy Montagu
Comm 188b Ford: Making musical instruments, by Ephraim Segerman
Comm 188c Ford: Making musical instruments, by John Barnes
Comm 189 MacLeod-Coupe: Lute construction, by Martyn Hodgson
Comm 190 Jansen: The bassoon, part I (plates), by Jeremy Montagu
Comm 191 Boyle: Intervals, scales and temperaments, by Jeremy Montagu
Comm 192 Cornett and Sackbut, journal, by Jeremy Montagu
Comm 193 Heyde: Musikinstrumenten Museum Leipzig band 1 Flöten, by Jeremy Montagu
Comm 194 The development of the calachon, by Martyn Hodgson
Comm 195 Soundhole migration in the development of the lute, by John Downing
Comm 196 Early 16th century lute construction, by John Downing
Comm 197 Woodwind making techniques, by Rod Cameron
Comm 198 Soundboard finishes, by Richard Shann
Comm 199 Mersenne untwisted, by Ephraim Segerman
Comm 200 A method for making traditional tuning pins, by John Barnes
Comm 201 Artificial ivory made from milk, by L A Esteves Pereira
Comm 202 Inventory of the workshop of Kejcher, Krakow (1548-1599), by Pierre Ducept
Comm 203 The Memling Angel Musicians Psaltery, by Edward L Kottick
Comm 204 Making a fraize, by Philip McCrone
Comm 205 A gouge for measuring thickness of musical instrument soundboards, by Peter Tourin
Comm 206 On Chladni-plate tuning of baroque viol soundboards, by Ephraim Segerman
Comm 207 Further to Comm 145 and Comm 80, by Jacques Leguy

Fomrhi Quarterly 14, Jan 1979

Comm 171 Jansen: The bassoon, part I. by Jeremy Montagu
Comm 172 Divisions: volume 1, no. 1. by Jeremy Montagu
Comm 173 A possible soundboard finish for lutes and guitars, by Ian Harwood
Comm 174 On the time of invention of overspun strings, by Djilda Abbott and Ephraim Segerman
Comm 175 The identity of 18th century 6-course lutes, by Martyn Hodgson
Comm 176 Early 16th century lute constructions, by Martyn Hodgson
Comm 177 A table to convert plain gut string sizes to equivalent overwound string specifications, by Martyn Hodgson
Comm 178 Mensur? Ugh, by Ephraim Segerman
Comm 179 Fret distances from the nut for every interval above the open string, by Djilda Abbott, Ephraim Segerman, Pete Spencer
Comm 180 Making reamers on a shoestring, by Bob Marvin
Comm 181 Blown resonance of baroque transverse flute: II characteristic frequency, by Felix Raudonikas
Comm 182 Planning a workshop, by John Rawson
Comm 183 On Mersenne's twisted data and metal strings, by Cary Karp
Comm 184 Notes on European harps, by Tim Hobrough
Comm 185 Peg taper finisher and cutter, by Geoff Mather
Comm 186 The viola pomposa, by Mark Mervyn Smith
Comm 187 More on the sizes of English (and other) viols, by Ephraim Segerman and Djilda Abbott

Fomrhi Quarterly 13, Oct 1978

Comm 150 Hutchins: The physics of music, by Jeremy Montagu
Comm 151 Tolley: Making musical instruments, by Jeremy Montagu
Comm 152 18th century musical instruments in the National Museum Dublin, with notes on a English guitar 1764 by Gibson, with Paul Doyle
Comm 153 Longnecks, by James Kimbel and I Lupus
Comm 154 Mace's theorbo from Musick's Monument, 1676, by David Miller
Comm 155 A red herring on Praetorius's foot, by Ephraim Segerman and Arthur Young
Comm 156 Two-headed lute news, by Ole Vang and Ephraim Segerman
Comm 157 Musical sculptures in medieval Burgundy, by Uta Henning
Comm 158 On the sizes of surviving English viols, by Ephraim Segerman
Comm 159 The Giusti harpsichord in the Stearns collection, by John Barnes
Comm 160 More about instrument drawings, by John Barnes and Ann and Peter Mactaggart
Comm 161 Computing cents with a pocket calculator, by Nicolas Meeùs
Comm 162 A string calculator, by Djilda Abbott and Ephraim Segerman
Comm 163 Overspun string calculations, Ephraim Segerman and Djilda Abbott
Comm 164 On twisted metal strings and Mersenne's data, Ephraim Segerman and Djilda Abbott
Comm 165 On Comm 86, by Trevor Robinson
Comm 166 Safety with woodworking machines, by John Rawson
Comm 167 Vellum and parchment roses, by John Rawson
Comm 168 Planes for shaping arched bellies of stringed instruments, by Arthur Young
Comm 169 Comments on humidity cycling, by Denzil Wraight
Comm 170 Blown resonance of baroque transverse flute: I pitch axis and wind bands, by Felix
Raudonikas

Fomrhi Quarterly 12, Jul 1978

Comm 135 A proposed device for more accurate acoustical duplication of stringed instruments, by Ephraim Segerman
Comm 136 Speculations on the renaissance viol, the ubiquity of soundholes bracketed by bars, and the history of soundposts, by Ephraim Segerman
Comm 137 Strings, twisted and Mersenne, by Cary Karp
Comm 138 Catline strings, by Djilda Abbott and Ephraim Segerman
Comm 139 Metal-covered threads before 1600, by Jeremy Montagu
Comm 140 Making lute pegs, by Theodorus Miller
Comm 141 A cut lute recorded, by William Samson
Comm 142 Bologna lutes - comments on Ccmm 128, by William Samson
Comm 143 The Baffo virginal, by Richard Shann
Comm 144 Basic clavichord design, by John Rawson
Comm 145 Method of woodwind frequency measurement data treatment, by Felix Raudonikas
Comm 146 Nuts, bolts and plugs, by Bob Marvin
Comm 147 Comments on a visit to the State Institute of Theatre, Music and Cinematographie (Leningrad) by Grant Moore
Comm 148 FoMRHI book news, by Jeremy Montagu
Comm 149 Birsak: Die Holzblas Instrumente im Salzburger Museum Carolino Augusteum, by Jeremy Montagu
Comm 149 Kaba: Die Römische Orgel von Aquincum, by Jeremy Montagu
Comm 149 Leppert: Arcadia at Versailles, by Jeremy Montagu
Comm 149 Remnant: Musical instruments of the West, by Jeremy Montagu
Comm 149 Salzburger Museum Carolino Augusteum: Jahresschrift 22 1976, by Jeremy Montagu
Comm 149 Szende: Intervallic hearing, its nature and pedagogy, by Jeremy Montagu

Fomrhi Quarterly 11, Apr 1978

List Brussels Museum.
List Société des Amis du Musée Instrumental, Paris.
Comm 112 The compass of the Royal College of Music clavicytherium, by William Debenham
Comm 113 Reproductions, by Donald Garrod
Comm 114 On the construction of Ruckers harpsichords, by Remy Gug
Comm 115 More about drawings of keyboard instruments, by John Barnes
Comm 116 The circulation of restoration reports: restoration of square piano c.1820 by Gaiser, by John Barnes
Comm 117 Documentation of a Fort'e Piano mechanism once existing in the Giusti harpsichord, by David A Sutherland
Comm 118 A Ganassi flauto, by Bob Marvin
Comm 119 Three full-sized line drawings of historical wind instruments, by John Cousen
Comm 120 Reed-gouging tool, by Henry Holmes
Comm 121 Woodwind measurements, by Paul Whinray
Comm 122 A shaper for recorder block blanks, by Paul Whinray
Comm 123 Information on regals and foreign language dictionaries, by Arthur Young
Comm 124 An analysis of the fretting of the Canpi cittern at the Royal College of Music in London, by Ephraim Segerman
Comm 125 On Comm 97: Cetra fret blocks, by Ephraim Segerman
Comm 126 Twist your strings to improve tone and fretting accuracy, by Ephraim Segerman, and Djilda Abbott
Comm 127 More comments on Comm 39, 39a and 39b, by Donald Gill
Comm 128 The Maler and Frei lutes - some observations, by John Downing
Comm 129 String tension on Mersenne's lute, by Ephraim Segerman
Comm 130 Clean edges on gold leaf, by G I Douglas
Comm 131 Some historical notes on acid staining, by David E Owen
Comm 132 Two simple varnishes, by Frederick Rubin
Comm 133 A gauge for measuring front-plate thickness profiles of viols, by David Strahle
Comm 134 On wire-comms and wire-comm comments, by Cary Karp

Fomrhi Quarterly 10, Jan 1978

Comm 44e Montagu: The world of medieval and renaissance musical instruments, by Ephraim Segerman (part 3)
Comm 93 Report on the 16th century seminar, by Jeremy Montagu and Ephraim Segerman
Comm 94 Some thoughts on gut string history before 1600, by Ephraim Segerman
Comm 95 A correction to Comm 50 on Jerome of Moravia's second fiddle tuning, by Ephraim Segerman
Comm 96 A hypothesis on the symphony, by Jeremy Montagu
Comm 97 Cetra et cetera, by Christopher Allworth
Comm 98 Lead in harpsichord keyboards, by John Rawson
Comm 99 Seasoning your own timber, by John Rawson
Comm 100 Early musical instruments for school construction, by Bryan Tolley, Suzanne Roscow, Janet Allison
Comm 101 On Comm 76 and woodwind crack repair, by Cary Karp
Comm 102 Overspun strings, by Cary Karp
Comm 103 The interaction between gut string technology and instrument ranges and sizes up to the 18th century, by Ephraim Segerman
Comm 104 A description of the early Irish harp, by Tim Hobrough
Comm 105 About old music wire, by Remy Gug
Comm 106 Karp: Basic keyboard tuning techniques, by Jeremy Montagu
Comm 107 Varquin: hurdy-gurdy drawing, by Bryan Tolley
Comm 108 Scheurwater, van Acht: Old harpsichords, their construction and restoration, by John Barnes
Comm 109 Stradner: Die musikinstrumente im Seiermarkischen Landeszeughaus in Graz, by Jeremy Montagu
Comm 110 Kjeldsberg: Musikinstrumenter ved Ringve Museum, by Jeremy Montagu
Comm 110a Kjeldsberg: Klemt og Klang; Ringve Museum, by Jeremy Montagu
Comm 111 Stockmann: Studia Instrumentorum Musicae Popularis, Musikhistoriska museets skrifter, by Jeremy Montagu

Fomrhi Quarterly 9, Oct 1977

Comm 44d Montagu: The world of medieval and renaissance musical instruments, by Ephraim Segerman (part 2)
Comm 75 Notes on the barring of an Arabian lute, by John Downing
Comm 76 Notes on the preservation and repair of the shakuhachi, by Dan E Mayers
Comm 77 Restoration of cupped Flemish wrestplanks, by R K Lee
Comm 78 Profiling and tuning of viol front plates, by David Strahle
Comm 79 Another note concerning Praetorius's pitch standards, by Ephraim Segerman
Comm 80 Some reflections on the acoustics of the cornett, by Jacques Leguy
Comm 81 The string formula, R F J van Pelt
Comm 82 Comment on Comm 81, by Ephraim Segerman and Djilda Abbott
Comm 83 Wrought iron music wire, by Cary Karp
Comm 84 Accuracy of measurement of woodwinds and the exact copy, by Cary Karp
Comm 85 More comments on measured drawings of keyboard instruments, by William Debenham
Comm 86 On measurement, by Trevor Robinson
Comm 87 On Comm 67, by Paul Hailperin
Comm 88 A reasoned and practical approach to mean-tone fretting, by Ephraim Segerman and Djilda Abbott
Comm 89 On medieval and early renaissance tunings and fretting patterns, by Ephraim Segerman
Comm 90 Katalog der Streichinstrumente Berlin, by Jeremy Montagu
Comm 91 van der Meer, Thibault: Preservation and restoration of musical instruments, by Jeremy Montagu
Comm 92 Jenkins: International dictionary of musical instruments, by Jeremy Montagu

Fomrhi Quarterly 8, Jul 1977

List V&A Museum, London.
Comm 10a Comment on C-10: attitudes to musical instrument conservation and restoration by O'Brien, by John Barnes
Comm 39b Comments on comments (Comm 39a) on Comm 39, by Ephraim Segerman, Djilda Abbott
Comm 44c Montagu: The world of medieval and renaissance musical instruments (part 1) by Ephraim Segerman
Comm 58a On prematurity of communication, by Ephraim Segerman and Djilda Abbott
Comm 65 On the sizes of renaissance and baroque viols and violins, by Ephraim Segerman
Comm 66 The range of pitch with gut strings of a given length, by William Samson
Comm 67 Principal instruments of 14th century Italy and their structural features, by Howard Mayer Brown
Comm 68 Comments on technical drawings and photographs of musical instruments, by R K Lee
Comm 69 On the dangers of becoming an established scholar, by Ephraim Segerman
Comm 70 Profile turning of reamer blanks for use in woodwind, by Rod Cameron
Comm 71 Humidity cycling for stabilisation of gut and wood, by Djilda Abbott, Ephraim Segerman and David Rolfe
Comm 72 Tullberg: The manufacture of musical instruments, by Jeremy Montagu
Comm 73 Diagram_group: Musical instruments of the world, by Jeremy Montagu
Comm 74 Medieval carvings of musical instruments in St Mary's Church Shrewsbury, by Lawrence Wright

Fomrhi Quarterly 7, Apr 1977

Comm 40a In defence of Comm 40, by Ephraim Segerman
Comm 44b Munrow: Instruments of the middle ages and renaissance (part 2), by Ephraim Segerman
Comm 55 Reports on FoMRHI seminars Syrus, by Jeremy Montagu
Comm 56 FoMRHI book news, by Jeremy Montagu
Comm 57 Renaissance transposing keyboard instruments II, by Nicolas Meeùs
Comm 58 Jerome of Moravia, by Anthony Baines
Comm 59 The names, string lengths and pitch standards of extended-neck lutes in the 17th century, by Djilda Abbott and Ephraim Segerman
Comm 60 Instrument research through artist's depiction, by Peter Ecker
Comm 60a Some comments on Comm 60 and Jeremy Montagu
Comm 61 Detection of reinforcing bars in instruments, by Richard Wood
Comm 62 Bending irons, by Donald Garrod, Djilda Abbott and Arthur Young
Comm 63 On measures of instruments in museums, by Ephraim Segerman, Djilda Abbott
Comm 64 Freighting instruments from the U.K. by Richard Wood

Fomrhi Quarterly 6, Jan 1977

List Metropolitan Museum of Art, New York.
FoMRHI rules.
Comm 39a Some notes on Comm 39, by Donald Gill
Comm 44a Munrow: Instruments of the middle ages and renaissance (part 1) by Ephraim Segerman
Comm 45 Renaissance transposing keyboard instruments, by Nicolas Meeùs
Comm 46 Recommendations for drawings of keyboard instruments, by John Barnes
Comm 47 Lute pegboxes in pictures 1600-1800, by William Samson
Comm 48 The twelve-course lute, by William Samson
Comm 49 Classic guitar shape, by Peter Ecker
Comm 50 Jerome of Moravia and bridge curvature in the medieval fiddle, by Ephraim Segerman and Djilda Abbott
Comm 51 Some speculations on medieval fiddle technique, by Ephraim Segerman and Djilda Abbott
Comm 52 What is a musical instrument, by Bob Marvin
Comm 53 The words authentic and original, by Ephraim Segerman
Comm 54 Felling your own timber, by John Rawson

Fomrhi Quarterly 5, Oct 1976

Italian harpsichords, Wraight.
Comm 31 A reconstruction of the Bosch hurdy-gurdy, by Bryan Tolley
Comm 32 Burning as an alternative to boring, by Paul Hailperin
Comm 33 Colouring of instruments, by Lawrence
Comm 34 On bending woods, by R Hachez
Comm 35 An ivory substitute, by R Hachez
Comm 36 Lessons about the naming of instruments offered by the early guitar and violin. , by Ephraim Segerman and Djilda Abbott
Comm 36a: Comments on Comm 41 by Ephraim Segerman
Comm 37 Praetorius and the viola bastarda, by Ephraim Segerman and Djilda Abbott
Comm 38 Praetorius and English pitch standards in the 17th century, by Ephraim Segerman and Djilda Abbott
Comm 39 On the string length of the 16th century vihuela da mano, by Ephraim Segerman and Djilda Abbott
Comm 40 Why are lute pegboxes bent back, by Ephraim Segerman and Djilda Abbott
Comm 41 Lute pegboxes and necks, by William Samson
Comm 42 Museums, commercialism and instrument drawings, by Ephraim Segerman and Djilda Abbott
Comm 43 Notes on the Horniman Museum Handbook, by Jeremy Montagu
Comm 43a Comments on Comm 29, by Ephraim Segerman and Djilda Abbott
Comm 44 Montagu: The world of medieval and renaissance musical instruments, by Ephraim Segerman
Comm 44 Munrow: Instruments of the middle ages and renaissance, by Ephraim Segerman

Fomrhi Quarterly 4, Jul 1976

Comm 21 The construction of a monochord, by Jeremy Montagu
Comm 22 The polishing of metal surfaces, by John Betts
Comm 23 Some notes on the use of benzotriazole as a preservative for copper and alloys of high copper content, by John Betts
Comm 24 A substitute for ivory, by Stephen Taggart
Comm 25 A 16th century French description of gut strings in Turkey, by Lawrence Wright
Comm 26 The Early Musical Instrument Makers Association Limited, by John Morley
Comm 27 A letter to Editors of periodicals with interests in historical instruments, by Djilda Abbott, Ephraim Segerman and Jeremy Montagu
Comm 28 A note on the preparation and distribution of instrument designs, by Ephraim Segerman and Djilda Abbott
Comm 29 Design information for lute makers, by Ephraim Segerman and Djilda Abbott
Comm 30 On single, octave or unison courses in early stringed instruments, by Ephraim Segerman and Djilda Abbott

Fomrhi Quarterly 3, Apr 1976

Comm 10 Attitude to musical instrument conservation and restoration, G Grant O'Brien
Comm 11 Proposal for a computer-based index of data concerning historical documents, by Ian Theakston
Comm 12 Musical instruments in Jean de Gerson's Tractatus de Canticis, by Chistopher Page
Comm 13 Musical instruments in medieval Latin biblical glosses, by Christopher Page
Comm 14 References to string materials in some medieval texts, by Christopher Page
Comm 15 Historical background to the strings used by catgut scrapers, by Ephraim Segerman and Djilda Abbott
Comm 16 On the Palmer orpharion, by Ephraim Segerman and Djilda Abbott
Comm 17 Regarding lute pegs and bridges, by Donna Curry
Comm 18 Blades, Montagu: Early percussion instruments from the middle ages to the baroque, by Edmund A Bowles
Comm 19 Montagu: Making early percussion instruments, by Edmund A Bowles
Comm 20 Marcuse: A survey of musical instruments, by Jeremy Montagu

Fomrhi Quarterly 2, Jan 1976

Comm 5 Geometric description and analysis of instrument shapes, by Ephraim Segerman and Djilda Abbott
Comm 6 Some thoughts on a file of musical instruments, by Ephraim Segerman and Djilda Abbott
Comm 7 Sources of information on authentic lutes, by Ephraim Segerman and Djilda Abbott
Comm 8 Some manuscripts in the British Library with musical instruments and a few other sources, by Jeremy Montagu
Comm 8a Pictures etc in the Ashmolean Museum, by John Downing
Comm 9 Comments on the catalogue of the V&A Museum, by Jeremy Montagu

Fomrhi Quarterly 1, Nov 1975

Comm 1 On early 16th century lute barring and bridge placement, by Ephraim Segerman and Djilda Abbott
Comm 2 The problem of double bridges on 15th century illustrations of rebecs, by Anthony Rooley
Ccmm 3 Gut strings, by Ephraim Segerman and Djilda Abbott
Comm 4 An inductive thickness gauge, by Martin Edmunds

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