EARLY MUSIC

EARLY MUSIC

PER. GB. 9

 

 

-ABBOTT (D.) & SEGERMAN (E.), Gut strings, Vol. IV (1976), n. 4, pp. 430-437

-ABRAVAYA (I.), A French overtures revisited: another look at the two versions of BWV831, Vol. XXV (1997), n. 1, pp. 47-62

-ADAS (J.), “Le célèbre Berteau”, Vol. XVII (1989), n. 3, pp. 368-381

-ADDINGTON (C.), In search of the Baroque flute, Vol. XII (1984), n. 1, pp. 34-47

-ADLAM (D.), Restoring the Vaudry, Vol. IV (1976), n. 3, pp. 255-265

-AGUILERA (A.V.), Music in the monastery of La Merced, Santiago de Chile, in the colonial period, Vol. XXXII (2004), n. 3, pp. 369-382

-ALBERTYN (E.), The Hanover orchestral repertory, 1672 – 1714: significant source discoveries, Vol. XXXIII (2005), n. 3, pp. 449-471

-ALESSANDRINI (R.), Performance practice in the seconda prattica madrigal, Vol. XXVII (1999), n. 4, pp. 632-640

-ALLANBROOK (W.J.) & HILTON (W.), Dance rhythms in Mozart’s arias, Vol. XX (1992), n. 1, pp. 142-150

-ALLSOP (P.), Da camera e da ballo – alla francese e all’italiana: functional and national distinctions in Corelli’s sonate da camera, Vol. XXVI (1998), n. 1, pp. 87-98

-ANDERSON (M.A.), „His name will be called John“: reception and symbolism in Obrecht’s Missa de Sancro Johanne Baptista, Vol. XXXIX (2011), n. 4, pp. 547-562

-ANDERSON (N.), Georg Philipp Telemann, Vol. IX (1981), n. 4, pp. 499-507

  • Harmonia Mundi at 50, Vol. XXXVI (2008), n. 4, pp. 617-620
  • Performing early music on record 4. The operas of Rameau, Vol. IV (1976), n. 3, pp. 284-287
  • Performing style in Bach cantatas 1, Vol. VI (1978), n. 1, p. 89
  • Performing style in Bach cantatas 2, Vol. VI (1978), n. 3, pp. 421-428
  • Performing style in Bach cantatas 3, Vol. VII (1979), n. 1, pp. 99-102
  • Rameau’s Plateé, Vol. XI (1983), n. 4, pp. 505-509
  • Rameau in the recording studio: a survey of recordings of French Baroque opera, Vol. XXI (1993), n. 2, pp. 251-261

-ANNIBALDI (C.), “The singers of the said chapel are chaplains of the pope”: some remarks on the papal chapel in early modern times, Vol. XXXIX (2011), n. 1, pp. 15-24

-ANTHONY (J.R.), More faces than Proteus, Vol. XV (1987), n. 3, pp. 336-346

-ARMSTRONG (C.), 16th-century German playing cards: a little-known source of German songs, Vol. V (1977), n. 2, pp. 209-219

-ARNOLD (D.), Con ogni sorte di stromenti, Vol. IV (1976), n. 2, pp. 167-172

  • Cavalli at St. Mark’s, Vol. IV (1976), n. 3, pp. 266-274
  • Performing early music on record 3: the Baroque in Germany, Vol. IV (1976), n. 2, pp. 183-184
  • The grand motets of Orlandus Lassus, Vol. VI (1978), n. 2, pp. 170-181
  • The secular music of Alessandro Grandi, Vol. XIV (1986), n. 4, pp. 491-499
  • Vivaldi’s Church music, Vol. I (1973), n. 2. p. 66

-ASHBEE (A.), Groomed for service: musicians in the Privy Chamber at the English court, c.1495-1558, Vol. XXV (1997), n. 2, pp. 185-198

  • John Jenkins 1592-1678: the viol consort music in four, five and six parts, Vol. VI (1978), n. 4, pp. 492-500

-ATLAS (A.W.), A 41-cent emendation: a textual problem in Wheatstone’s publication of Giulio Regondi’s Serenade for English concertina and piano, Vol. XXXIII (2005), n. 4, pp. 609-617

-AA. VV. , Reports: Bruges 1972, Vol. I (1973), n. 1, pp. 37-39

-BACCIAGALUPPI (C.), More on Vivaldi in Switzerland, Vol. XXXIX (2011), n. 4, pp. 597-604

-BADURA-SKODA (P.), A tie is a tie is a tie, Vol. XVI (1988), n. 1, pp. 84-89

  • Playing the early piano, Vol. XII (1984), n. 4, pp. 477-480
  • The Anton Walter fortepiano – Mozart’s beloved concert instrument: a response to Michael Latchman, Vol. XXVIII (2000), n. 3, pp. 469-474

-BAGBY (B.), Musicology and make-believe?, Vol. XIV (1986), n. 4, p. 557

-BAKER (G.), Latin American Baroque: performance as a post-colonial act?, Vol. XXXVI (2008), n. 3, pp. 441-448

  • Music at Corpus Christi in colonial Cuzco, Vol. XXXII (2004), n. 3, pp. 355-368

-BAINBRIDGE (T.), Wanda Landowska and her repertoire, Vol. III (1975), n. 1, pp. 39-42

-BAINES (F.), Introducing the hurdy-gurdy, Vol. III (1975), n. 1, pp. 33-38

  • Life with the viol: the revival of a tradition, Vol. VI (1978), n. 1, pp. 45-46
  • The consort music of Orlando Gibbons, Vol. VI (1978), n. 4, pp. 540-543
  • Talks to DIETRICH KESSLER on making viols, Vol. VI (1978), n. 4, pp. 551-555
  • What exactly is a violone? A note towards a solution, Vol. V (1977), n. 2, pp. 173-175

-BAIRD (J.), An 18th-century controversy about the trill, Vol. XV (1987), n. 1, pp. 36-46

-BALL (C.), Renaissance and baroque recorders, Vol. III (1975), n. 1, pp. 11-18

-BANDUCCI (A.), Staging a tragédie en musique: a 1748 promptbook of Campra’s Tancrède, Vol. XXI (1993), n. 2, pp. 180-190

-BANKS (J.), Performing the instrumental music in the Segovia Codex, Vol. XXVII (1999), n. 2, pp. 294-310

-BARBIERI (P.), An assessment of musicians and instrument-makers in Rome during Handel’s stay: the 1708 Grand Taxation, Vol. XXXVII (2009), n. 4, pp. 597-619

  • On a continuo organ part attributed to Palestrina, Vol. XXII (1994), n. 4, pp. 587-605
  • Violin intonation: a historical survey, Vol. XIX (1991), n. 1, pp. 69-90

-BARKER (N.J.), Un-discarded images: illustrations of antique musical instruments in 17th- and 18-century books, their sources and transmission, Vol. XXXV (2007), n. 2, pp. 191-211

-BARLOW (G.F.), Vanbrugh’s Queen’s Theatre in the Haymarket, 1703-9, Vol. XVII (1989), n. 4, pp. 515-522

-BARNES (J.), Bach’s keyboard temperament, Vol. VII (1979), n. 2, pp. 236-249

  • Does restoration destroy evidence?, Vol. VIII (1980), n. 2, pp. 213-217

-BARNETT (D.) in conversation with IAN PARKER, Finding the appropriate attitude, Vol. VIII (1980), n. 1, pp. 65-70

-BARNETT (G.), Handel’s borrowings and the disputed Gloria, Vol. XXXIV (2006), n. 1, pp. 75-93

-BARTH (G.), Mozart performance in the 19th century, Vol. XIX (1991), n. 4, pp. 538-556

-BARTLETT (C.), & HOLMAN (P.), Giovanni Gabrieli: guide to instrumental performance, Vol. III (1975), n. 1, pp. 25-32

-BASS (J.), Would Caccini approve? A closer look at Egerton 2971 and florid melody, Vol. XXXVI (2008), n. 1, pp. 81-94

-BATES (C.H.), French harpsichord music in the first decade of the 18th century, Vol. XVII (1989), n. 2, pp. 184-197

-BAUMAN (T.), Mozart’s Belmonte, Vol. XIX (1991), n. 4, pp. 557-564

  • Musicians in the marketplace: the Venetian guild of instrumentalists in the later 18th century, Vol. XIX (1991), n. 3, pp. 345-356

-BAUMANN (D.),  Musical acoustics in the Middle Ages, Vol. XVIII (1990), n. 2, pp. 199-212

-BECK (E.M.), Marchetto da Padova and Giotto’s Scrovegni Chapel frescoes, Vol. XXVII (1999), n. 1, pp. 7-24

-BELLMAN (J.), Frédéric Chopin, Antoine de Kontski and the carezzando touch, Vol. XXIX  (2001), n. 3, pp. 398-407

-BENHAM (H.), Prince Arthur (1486-1502), a carol and a cantus firmus, Vol. XV (1987), n. 4, pp. 463-468

-BENNETT (P.), Collaborations between the Musique de la Chambre and the Musique de la Chapelle at the court of Louis XIII: Nicolas Formé’s Missa Æternae Henrici Magni (1638) and the origins of the grand motet, Vol. XXXVIII (2010), n. 3, pp. 369-386

-BENT (M.), “Authentic” listening? Vol. XXV (1997), n. 4, pp. 567

  • Editing early music: the dilemma of translation, Vol. XXII (1994), n. 3, pp. 373-392
  • Reflections on Christopher Page’s Reflections, XXI (1993), n. 4, pp. 625-633
  • The early use of the sign φ, Vol. XXIV (1996), n. 2, pp. 199-226
  • The Old Hall Manuscript, Vol. II (1974), n. 1, pp. 2-14
  • The songs of Dufay, Vol. VIII (1980), n. 4, pp. 454-459

-BERGER (K.), The martyrdom of St Sebastian: the function of accidental inflections in Dufay’s O beate Sebastiane, Vol. XVII (1989), n. 3, pp. 343-358

-BERNARDINI (A.), The oboe in the Venetian Republic, 1692-1797, Vol. XVI (1988), n. 3, pp. 372-387

-BERNEY (B.), The Renaissance flute in mixed ensembles: surviving instruments, pitches and performance practice, Vol. XXXIV (2006), n. 2, pp. 205-223

-BERNSTEIN (J.A.), Publish or perish? Palestrina and print culture in 16th-century Italy, Vol. XXXV (2007), n. 2, pp. 225-235

-BERRY (M.), Gregorian chant, Vol. VII (1979), n. 2, pp. 197-217

-BEURMANN (A.E.), Iberian discoveries: six Spanish 17th-century harpsichords, Vol. XXVII (1999), n. 2, pp. 183-210

-BEST (T.), Handel’s chamber music, Vol. XIII (1985), n. 4, pp. 476-499

-BESUTTI (P.), The “Sala degli Specchi” uncovered: Monteverdi, the Gonzagas and the Palazzo Ducale, Mantua, Vol. XXVII (1999), n. 3, pp. 451-466

-BETTLEY (J.), The Office of Holy Week at St Mark’s, Venice, in the late 16th century, and the musical contributions of Giovanni Croce, Vol. XXII (1994), n. 1, pp. 45-62

-BILLINGE (M.) & SHALJEAN (B.), The Dalway or Fitzgerald harp (1621), Vol. XV (1987), n. 2, pp. 175-187

-BILSON (M.), Execution and expression in the Sonata in E flat, K282, Vol. XX (1992), n. 2, pp. 237-244

  • The future of Schubert interpretation: what is really needed?, Vol. XXV (1997), n. 4, pp. 715-722
  • The Viennese fortepiano of the late 18th century, Vol. VIII (1980), n. 2, pp. 158-162

-BIZZARINI (M.), Marenzio and Cardinal Luigi d’Este, Vol. XXVII (1999), n. 4, pp. 518-534

-BLACKBURN (B.J.), For whom do the singers sing?, Vol. XXV (1997), n. 4, pp. 593-610

-BLACKER (C.V.R.) & PINTO (D.), Desperately seeking William: portraits of the Lawes brothers in context, Vol. XXXVII (2009), n. 2, pp. 157-173

-BLADES (J.), Percussion instruments of the Middle Ages and Renaissance, Vol. I (1973), n. 1, pp. 11-18

-BLADES (J.) & MONTAGU (J.), Capriol’s revenge, Vol. I (1973), n. 2, pp. 84-92

-BLAZEY (D.), A liturgical role for Monteverdi’s Sonata sopra Sancta Maria, Vol. XVII (1989), n. 2, pp. 175-183

-BLOOD (W.), “Well-tempering” the clavier, Vol. VII (1979), n. 4, pp. 491-497

-BLOECHL (O.), War, peace and the ballet in Le Soir, Vol. XXXVIII (2010), n. 1, pp. 91-100

-BLOXAM (M.J.), ‘I have never seen your equal’: Agricola, the Virgin and the Creed, Vol. XXXIV (2006), n. 3, pp. 391-408

-BOEKE (K.), Recorder now, Vol. X (1982), n. 1, pp. 7-9

-BOMBI (A.), Pedagogy and politics: music and the arts in the Valencian academy (1690-1705), Vol. XXXVI (2008), n. 4, pp. 557-574

-BOORMAN (S.), A New Edition of Machaut, Vol. V (1977), n. 4, pp. 495-498

-BORDAS (C.), The double harp in Spain from the 16th to the 18th centuries, Vol. XV (1987), n. 2, pp. 148-163

-BORDAS (C.) & ROBLEDO (L.), José Zaragozà’s box: science and music in Charles II’s Spain, Vol. XXVI (1998), n. 3, pp. 391-414

-BORROFF (E.), An American university consort, Vol. VIII (1980), n. 1, pp. 29-33

-BOSSUYT (I.), O socii durate: a musical correspondence from the time of Philip II, Vol. XXVI (1998), n. 3, pp. 432

-BOULEZ (P.), The Vestal Virgin and the Fire-stealer: memory, creation and authenticity, Vol. XVIII (1990), n. 3, pp. 355-358

-BOWERS (R.), More on the Lambeth Choirbook, Vol. XXXIII (2005), n. 4, p. 659

  • Mozart and the flute, Vol. XX (1992), n. 1, pp. 31-42
  • The “high and lowe keyes come both to one pitch”: recording inconsistent clef-systems in Monteverdi’s vocal music for Mantua, Vol. XXXIX (2011), n. 4, pp. 531-546
  • The performing pitch of English 15th-century church polyphony, Vol. VIII (1980), n. 1, pp. 21-28

-BOYARS (A.), The survivor speaks, Vol. XXV (1997), n. 4, pp. 553-554

-BOYD (M.) & RAYSON (J.), The Gentleman’s Diversion, Vol. X (1982), n. 3, pp. 329-331

-BOYDELL (B.), Ieorg Wier, Vol. VII (1979), n. 4, pp. 511-519

  • “Now that the Lord hath redvanc’d the crown”: Richard Hosier, Durhams Ms. B.1 and the early Restoration anthem repertory at the Dublin cathedrals, Vol. XXVIII (2000), n. 2, pp. 238-252

-BOYDEN (D.D.), The violin bow in the 18th century, Vol. VIII (1980), n. 2, pp. 199-211

-BOYER (S) & WAINWRIGHT (J.), From Barnard to Purcell: the copying activities of Stephan Bing, Vol. XXIII (1995), n. 4, pp. 620-650

-BOWLES (E.A.), Music in court festivals of state: festival books as sources for performance practices, Vol. XXVIII (2000), n. 3, pp. 421-444

  • The double, double, double beat of the thundering drum: the timpani in early music, Vol. XIX (1991), n. 3, pp. 419-435
  • The impact of Turkish military bands on European court festivals in the 17th and 18th centuries, Vol. XXXIV (2006), n. 4, pp. 533-560

-BRAINARD (I.), New dances for the Ball, Vol. XIV (1986), n. 2, pp. 164-174

-BRANNON (P.V.), Medieval Ireland: music in cathedral, church and cloister, Vol. XXVIII (2000), n. 2, pp. 193-204

-BRAUN (J.), Musical instruments in Byzantine illuminated manuscripts, Vol. VIII (1980), n. 3, pp. 312-328

-BRAY (R.), More light on early Tudor pitch, Vol. VIII (1980), n. 1, pp. 35-41

-BREAM (J.), On playing the lute: conversation with J.M. Thomson, Vol. III (1975), n. 3, pp. 348-352

-BRETT (P.), Facing the music, Vol. X (1982), n. 3, pp. 347-350

  • Homage to Taverner in Byrd’s masses, Vol. IX (1981), n. 2, pp. 169-176

-BROOKS (B.), Étienne Nau, Breslau 114 and the early 17th-century solo violin fantasia, Vol. XXXII (2004), n. 1, pp. 49-73

-BROOKS (J.), A singer’s book in the British Library, Vol. XXVI (1998), n. 1, pp. 29-50

  • Catherine de Médicis, nouvelle Artémise: women’s laments and the virtue of grief, Vol. XXVII (1999), n. 3, pp. 419-435
  • Tessier’s travels in Scotland and England, Vol. XXXIX (2011), n. 2, pp. 185-194

-BROWN (C.), Dots and strokes in late 18th- and 19th- century music, , Vol. XXI (1993), n. 4, pp. 593-612

  • Historical performance, metronome marks and tempo in Beethoven’s symphonies, Vol. XIX (1991), n. 2, pp. 247-260
  • The orchestra in Beethoven’s Vienna, Vol. XVI (1988), n. 1, pp. 4-20

-BROWN (H.M.), Choral music in the Renaissance, Vol. VI (1978), n. 2, pp. 164-169

  • Dufay and the Early Renaissance, Vol. II (1974), n. 4, pp. 219-234
  • Fantasia on a theme by Boccaccio, Vol. V (1977), n. 3, pp. 324-341
  • Instruments of the Middle Ages and Renaissance: in memoriam David Munrow, Vol. IV (1976), n. 3, pp. 288-290
  • Notes on the viol in the 20th century, Vol. VI (1978), n. 1, pp. 47-56
  • On the performance of fifteenth-century chansons, Vol. I (1973), n. 1, pp. 3-10
  • Performing early music on record 2: Continental sacred music of the 16th century, Vol. III (1975), n. 3, pp. 373-375
  • The geography of Florentine monody, Vol. IX (1981), n. 2, pp. 147-168
  • The trecento fiddle and its bridges, Vol. XVII (1989), n. 3, pp. 311-329

-BROWN (H.M.) & ROOLEY (A.), Musicke of Sundrie Kindes, Vol. IV (1976), n. 1, pp. 41-43

-BRUEGGEN (F.), The baroque recorder, Vol. II (1974), n. 2, pp. 101-104

-BRUNI (F.), 17th-century music prints at Mdina Cathedral, Malta, Vol. XXVII (1999), n. 3, pp. 467-480

-BRUNNER (L.W.), The performance of plainchant, Vol. X (1982), n. 3, pp. 317-328

-BRYAN (J.), “Verie sweete and artificiall”: Lorenzo Costa and the earliest viols, Vol. XXXVI (2008), n. 1, pp. 3-18

-BUCKLE (A.), “Fit for a king”: music and iconography in Richard Beauchamp’s chantry chapel, Vol. XXXVIII (2010), n. 1, pp. 3-20

-BUCKLEY (A.), Music and musicians in medieval Irish society, Vol. XXVIII (2000), n. 2, pp. 165-192

-BUDASZ (R.), Black guitar-players and early African-Iberian music in Portugal and Brazil, Vol. XXXV (2007), n. 1, pp. 3-22

-BURDEN (M.), For the Lustre of the Subject”: music for the Lord Mayor’s Day in the Restoration, Vol. XXIII (1995), n. 4, pp. 585-604

  • “Gallimaufry” at Covent Garden: Purcell’s The Fairy-Queen in 1946, Vol. XXIII (1995), n. 2, pp. 268-286
  • Purcell’s operas on Craig’s stage: the productions of the Purcell Operatic Society, Vol. XXXII (2004), n. 3, pp. 442-458
  • To repeat (or not to repeat)? Dance cues in Restoration English opera, Vol. XXXV (2007), n. 3, pp. 397-418
  • “Twittering and trilling”: Swedish reaction to Metastasio, Vol. XXVI (1998), n. 4, pp. 608-622
  • Where did Purcell keep his theatre band?, Vol. XXXVII (2009), n. 3, pp. 429-443

-BURGESS (G.), Revisiting Atys: reflections on Les Arts Florissants” production, Vol. XXXIV (2006), n. 3, pp. 465-477

-BURNETT (R.), English pianos at Finchcocks, Vol. XIII (1985), n. 1, p. 45

-BURROWS (D.), Handel’s London theatre orchestra, Vol. XIII (1985), n. 2, pp. 349-358

  • Handel, the Dead March and a newly identified trombone movement, Vol. XVIII (1990), n. 3, pp. 408-416

-BURROWS (D.), & HUME (R.D.), George I, the Haymarket Opera Company and Handel’s Water Music, Vol. XIX (1991), n. 3, pp. 323-344

-BURSTYN (S.), In quest of the period ear, Vol. XXV (1997), n. 4, pp. 692-701

-BUTCHART (D.S.), “La Pecorina” at Mantua, Musica Nova at Florence, Vol. XIII (1985), n. 3, pp. 359-366

-BUTLER (G.G.), The projection of affect in Baroque dance music, Vol. XII (1984), n. 2, pp. 200-207

-BUTT (J.), Acting up a text: the scholarship of performance and the performance of scholarship, Vol. XXIV (1996), n. 2, pp. 323-334

  • Bach’s vocal scoring: what can it mean?, Vol. XXVI (1998), n. 1, pp. 99-108

-BUTTREY (J.), New light on Robert Cambert in London, and his Ballet et Musique, Vol. XXIII (1995), n. 2, pp. 198-222

-BUŽGA (J.), The vocal works of Jan Dismas Zelenka, Vol. IX (1981), n. 2, pp. 177-182

-BYRT (J.), Elements of rhythmic inequality in the arias of Alessandro Scarlatti and Handel, Vol. XXXV (2007), n. 4, pp. 609-628

  • Some new interpretations of the notes inégales evidence, Vol. XXVIII (2000), n. 1, pp. 98-114

-CABRINI (M.), Upstaging the voice: diegetic sound and instrumental interventions in the French Baroque cantata, Vol. XXXVIII (2010), n. 1, pp. 73-90

-CALDWELL (J.), Musica ficta, Vol. XIII (1985), n. 3, p. 407

  • The “Te Deum” in late medieval England, Vol. VI (1978), n. 2, pp. 188-194
  • Two polyphonic istampite from the 14th century, Vol. XVIII (1990), n. 3, pp. 371-380

– CAMPANA (A.), Mozart’s Italian buffo singers, Vol. XIX (1991), n. 4, pp. 580-584

-CAMPBELL (C.), Should the soloist play during the tuttis of Mozart’s Clarinet Concerto?, Vol. XXXVIII (2010), n. 3, pp. 423-436

-CANDELARIA (L.), Tropes for the Ordinary in a 16th-century chantbook from Toledo, Spain, Vol. XXXIV (2006), n. 4, pp. 587-611

-CARTER (S.), The string tremolo in the 17th century, Vol. XIX (1991), n. 1, pp. 43-60

-CARTER (T.), Lamenting Ariadne?, Vol. XXVII (1999), n. 3, pp. 395-405

  • On the composition and performance of Caccini’s Le nuove musiche, Vol. XII (1984), n. 2, pp. 208-217
  • Possente spirito: on taming the power of music, Vol. XXI (1993), n. 4, pp. 517-524
  • Winds, cupids, little zephyrs and sirens: Monteverdi and Le nozze di Tetide (1616-1617), Vol. XXXIX (2011), n. 4, pp. 489-502

-CASEY (S.G.), “Through a glass, darkly”: Steps towards reconstructing Irish chant from the neumes of the Drummond Missal, Vol. XXVIII (2000), n. 2, pp. 205-216

-CERVANTES (X.) & McGEARY (T.), Handel, Porpora and the “Windy Bumm”, Vol. XXIX  (2001), n. 4, pp. 607-618

-CHADWICK (S.), The early Irish harp, Vol. XXXVI (2008), n. 4, pp. 521-532

-CHALLEN (C.), The Unverdorben lute at Fenton House, Vol. VII (1979), n. 2, pp. 166-173

-CHARLTON (D.), A maître d’orchestre … conducts”: new and old evidence on French practice, Vol. XXI (1993), n. 3, pp. 340-353

  • Classical clarinet technique: documentary approaches, Vol. XVI (1988), n. 3, pp. 396-406

-CHATER (J.), “Such sweet sorrow”: the dialogo di partenza in the Italian madrigal, Vol. XXVII (1999), n. 4, pp. 576-599

-CHARTERIS (R.), Another keyboard canzone by Giovanni Gabrieli?, Vol. XV (1987), n. 4, pp. 480-486

  • Autographs of Alfonso Ferrabosco I-III, Vol. X (1982), n. 2, pp. 208-212
  • Newly discovered manuscript parts and annotations in a copy of Giovanni Gabrieli’s Symphoniae sacrae (1615), Vol. XXIII (1995), n. 3, pp. 487-498
  • Theophilus Hawney: a little-known composer and his much travelled works, Vol. XXIX (2001), n. 4, pp. 627-634

-CHENEY (S.), Early autograph manuscripts of Marin Marais, Vol. XXXVIII (2010), n. 1, pp. 59-71

-CHISHOLM (D.), Handel’s Lucio Cornelio Silla, Vol. XIV (1986), n. 1, pp. 64-70

-CHRISTIE (W.), The elusive world of the French Baroque, Vol. XXI (1993), n. 2, pp. 262-268

-CHRISSOCHOIDIS (I.), An emblem of modern music: temporal symmetry in the prologue of L’Orfeo (1607), Vol. XXXIX (2011), n. 4, pp. 519-530

  • Handel, Hogarth, Goupy: artistic intersections in early Georgian England, Vol. XXXVII (2009), n. 4, pp. 577-596

-CIENNIWA (P.), Repeat signs and binary form in Françoi Couperin’s Pièces de clavecin, Vol. XXX  (2002), n. 1, pp. 94-102

-CLARK (J.), C.P.E. Bach and the tradition of Passion music in Hamburg, Vol. XVI (1988), n. 4, pp. 533-541

  • Domenico Scarlatti and Spanish folk music, Vol. IV (1976), n. 1, pp. 19-21
  • “His own worst enemy”, Vol. XIII (1985), n. 4, pp. 542-547
  • Les Folies Françoises, Vol. VIII (1980), n. 2, pp. 163-169

-CLARKE (D.), An encounter with Chines music in mid-18th-century London, Vol. XXXVIII (2010), n. 4, pp. 543-558

-COATES (K.), The Mandoline: an unsung serenader, Vol. V (1977), n. 1, pp. 75-87

-COEYMAN (B.), Social dance in the 1668 Feste de Versailles: architecture and performance context, Vol. XXVI (1998), n. 2, pp. 264-285

-COGGIN (P.), This easy and agreable Instrument, Vol. XV (1987), n. 2, pp. 205-220

-COLE (M.), A Handel harpsichord, Vol. XXI (1993), n. 1, pp. 99-110

-COLE (W.H.), The early piano in Britain reconsidered, Vol. XIV (1986), n. 4, pp. 563-565

-COLLINS (D.), A 16th-century manuscript in wood: the Eglantine table, Vol. IV (1976), n. 3, p. 275

-COLT (C.F.), Early pianos: their history and character, Vol. I (1973), n. 1, pp. 27-34

-COLTON (L.), Languishing for provenance: Zelo tui langueo and the search for women’s polyphony in England,  Vol. XXXIX (2011), n. 3, pp. 315-326

-CONGLETON (J.), The False Consonances of Musick, Vol. IX (1981), n. 4, pp. 463-469

-COOKE (P.), Music in a Ugandan court, Vol. XXIV (1996), n. 3, pp. 439-453

-COOPER (J.M.), Timpani parts in German Baroque music: the Schlagmanieren revisited, Vol. XXVII (1999), n. 2, pp. 249-268

-CORNEILSON (P.), Reconstructing the Mannheim court theatre, Vol. XXV (1997), n. 1, pp. 63-82

-CORONA-ALCALDE (A.), The earliest vihuela tablature: a recent discovery, Vol. XX (1992), n. 4, pp. 594-600

-CORP (E.), François Couperin and the Stuart court at Saint-Germain-en-Laye, 1691-1712: a new interpretation, Vol. XXVIII (2000), n. 3, pp. 445-453

-COSART (J.), MARIANI (A.), SMITH (C.), STATTELMAN (D.), Reconstructing the music of medieval Ireland: Altramar’s Crossroads of the Celts, Vol. XXVIII (2000), n. 2, pp. 270-282

-COWGILL (R.), “The most musical spot for its size in the kingdom”: music in Georgian Halifax, Vol. XXVIII (2000), n. 4, pp. 557-576

-CRANE (F.), On performing the Lo estampies, Vol. VII (1979), n. 1, pp. 25-33

-CRIST (S.A.), Bach’s début at Leipzig, Vol. XIII (1985), n. 2, pp. 212-226

-CROFT-MURRAY (E.) (1907-1980), A tribute to a great antuquarian Robin Langley, Vol. IX (1981), n. 2, pp. 227-230

-CROZIER (E.), “O bygone whirls!”, Vol. VIII (1980), n. 3, pp. 291-297

-CUERDEN (G.), Photographing early instruments, Vol. IV (1976), n. 4, pp. 449-452

-CUMMINGS (G.), Handel and the confus’d shepherdess: a case study of stylistic eclecticism, Vol. XXXIII (2005), n. 4, pp. 575-590

-CUSICK (S.G.), Re-voicing Arianna (and laments): two women respond, Vol. XXVII (1999), n. 3, pp. 436-450

  • “There was not one lady who failed to shed a tear”: Arianna’s lament and the construction of modern womanhood, Vol. XXII (1994), n. 1, pp. 21-44

-CYPESS (R.), Chambonnières, Jollain and the first engraving of harpsichord music, Vol. XXXV (2007), n. 4, pp. 539-554

-CYR (M.), Bach’s music in France: a new source, Vol. XIII (1985), n. 2, pp. 256-260

  • Basses and basse continue in the orchestra of the Paris Opéra 1700-1764, Vol. X (1982), n. 2, pp. 155-169
  • Performing Rameau’s cantatas, Vol. XI (1983), n. 4, pp. 480-489
  • Representing Jacquet de La Guerre on disc: scoring and basse continue practices, and a new painting of the composer, Vol. XXXII (2004), n. 4, pp. 549-568

-CZERNIN (M.), Fragments of liturgical chant from medieval Irish monasteries in continental Europe, Vol. XXVIII (2000), n. 2, pp. 217-225

-DAVIE (C.T.), A lost Morley song rediscovered, Vol. IX (1981), n. 3, pp. 338-339

-DAVIES (B.), The historiography of the Reformation, or the reformation of historiography, Vol. XXIX  (2001), n. 2, p. 263

-DAVIES (D.E.), Villancicos from Mexico City for the Virgin of Guadalupe, Vol. XXXIX (2011), n. 2, pp. 229-244

-DAVIS (R.), Arab-Andalusian music in Tunisa, Vol. XXIV (1996), n. 3, pp. 423-438

-DAVISON (A.), Painting for a Requiem: Mihàly Munkàcsy’s The last moments of Mozart (1885), Vol. XXXIX (2011), n. 1, pp. 79-92

  • The iconography of an émigré musician: Henri-Pierre Danloux’s 1795 portrait of Jan Ladislav Dussek, Vol. XXXVII (2009), n. 2, pp. 175-185

-DAVISON (N.), Membriano de Orto (c.1455-1529): personal thoughts and some surprises, Vol. XXXVI (2008), n. 3, pp. 435-440

-DAY (T.), Sir Richard Terry and 16th-century polyphony, Vol. XXII (1994), n. 2, pp. 296-308

  • Tallis in performance, Vol. XXXIII (2005), n. 4, pp. 683-691

-DAYE (A.), Torchbearers in the English masque, Vol. XXVI (1998), n. 2, pp. 246-263

-DE FRUTOS (L.), Virtuosos of the Neapolitan opera in Madrid: Alessandro Scarlatti, Matteo Sassano, Petruccio and Filippo Schor, Vol. XXXVII (2009), n. 2, pp. 187-200

-DE GOEDE (T.), From dissonance to note-cluster: the application of musical-rhetorical figures and dissonances to thoroughbass accompaniment of early 17th-century Italian vocal solo music, Vol. XXXIII (2005), n. 2, pp. 233-252

-DE LA GORCE (J.), Lully’s first opera, Vol. XV (1987), n. 3, pp. 308-314

  • Twenty set models for the Paris Opéra in the time of Rameau, Vol. XI (1983), n. 4, pp. 429-440

-DE MARLY (D.), Musicians’ costumes in the Restoration theatre, Vol. V (1977), n. 4, pp. 507-516

-DE PASCUAL (B.K.), Clavicordios and clavichords in 16th – century Spain, Vol. XX (1992), n. 4, pp. 611-632

  • TFrancisco Pérez Mirabal’s harpsichords and the early Spanish piano, Vol. XV (1987), n. 4, pp. 503-513
  • The Guadalupe angel musicians, Vol. XIV (1986), n. 4, pp. 541-544
  • Two contributions to dulcian iconography, Vol. XXV (1997), n. 3, pp. 412-427

-DE PASCUAL (B.K.), VAN DER MEER (J.H.) & LIBIN (L.), The five-octave compass in 18th-century Spanish harpsichord, Vol. XV (1987), n. 1, pp. 74-78

-DEAN (J.), Listening to the trouvères, Vol. XXV (1997), n. 4, pp. 638-660

-DEEMING (H.), The sources and origino f the “Agincourt Carol”, Vol. XXXV (2007), n. 1, pp. 23-38

-DeFORD (R.I.), Marenzio and the villanella alla romana, Vol. XXVII (1999), n. 4, pp. 535-354

  • The mensura of φ in the works of Du Fay, Vol. XXXIV (2006), n. 1, pp. 111-138

-DEL MAR (J.), Once again: reflections on Beethoven’s tied-note notation, Vol. XXXII (2004), n. 1, pp. 7-26

-DI GRAZIA (D.M.), New perspectives on Thomas Myriell’s Tristitiae remedium and Add. Ms. 29427, , Vol. XXXVIII (2010), n. 1, pp. 101-112

-DI STEFANO (G.P.), The clavecins à maillets of Marius and Veltman: new observations on some of the first pianos in France, Vol. XXXIX (2011), n. 1, pp. 35-56

-DICKINSON (A.), The Courante “La Vignonne”. In the steps of a popular dance, Vol. X (1982), n. 1, pp. 56-63

-DIRST (M.), Bach’s French overtures and the politics of overdotting, Vol. XXV (1997), n. 1, pp. 35-46

-DIXON (G.), “Behold our affliction”: celebration and supplication in the Gonzaga household, Vol. XXIV (1996), n. 2, pp. 250-262

  • Handel’s music for the Carmelites, Vol. XV (1987), n. 1, pp. 16-30
  • Monteverdi’s Vespers of 1610: “della Beata Vergine”?, Vol. XV (1987), n. 3, pp. 386-390
  • The performance of Palestrina: some questions, but fewer answers, Vol. XXII (1994), n. 4, pp. 666-676

-DODD (G.), A summary of music for viols, Vol. VI (1978), n. 2, pp. 262-267

-DOLATA (D.), Visual and poetic allegory in Bellerofonte Castaldi’s extraordinary Capricci a due stromenti, Vol. XXXIII (2005), n. 3, pp. 371-392

-DOMÍNGUEZ (J.M.), “Comedias armónicas a la usanza de Italia”: Alessandro Scarlatti’s music and the Spanish mobility c.1700, Vol. XXXVII (2009), n. 2, pp. 201-215

-DONINGTON (R.), Arnold Dolmetsch, Vol. III (1975), n. 3, pp. 236-239

  • String playing in baroque music, Vol. V (1977), n. 3, pp. 389-392
  • The choice of instruments in baroque music, Vol. I (1973), n. 3, pp. 131-139
  • What is rhythmic alteration?, Vol. V (1977), n. 4, pp. 543-542
  • Why early music?, Vol. XI (1983), n. 1, pp. 42-45

-DOWNEY (P.), A renaissance correspondence concerning trumpet music, Vol. IX (1981), n. 3, pp. 325-329

  • On sounding the trumpet and beating the drum in 17th-century England, Vol. XXIV (1996), n. 2, pp. 263-278
  • The Renaissance slide trumpet, Vol. XII (1984), n. 1, pp. 26-33
  • What Samuel Pepys heard on 3 February 1661: English trumpet style under the later Stuart monarchs, Vol. XVIII (1990), n. 3, pp. 417-429

-DRABKIN (W.), Fingering in Haydn’s string quartets, Vol. XVI (1988), n. 1, pp. 50-57

-DRAGE (S.), Elias Hall, “the faithful chronicler” of Oldham psalmody, Vol. XXVIII (2000), n. 4, pp. 621-635

-DRAKE (J.F.), The partbooks of a Florentine ex-patriate: new light on Florence, Biblioteca Nazionale Centrale Ms. Magl. XIX 164 – 7, Vol. XXXIII (2005), n. 4, pp. 639-645

-DRENNAN (J.), Attributions to Giovanni Rovetta, Vol. XXXIII (2005), n. 3, pp. 413-422

-DREYFUS (L.), Mozart as early music: a Romantic antidote, Vol. XX (1992), n. 2, pp. 297-310

  • The metaphorical soloist, Vol. XIII (1985), n. 2, pp. 237-247

-DUFFIN (R.W.), Mi chiamano Mimi … but my name is Quarti toni: solmization and Ockeghem’s famous Mass, Vol. XXIX  (2001), n. 2, pp. 164-185

  • The trompette des menestrels in the 15th-century alta capella, Vol. XVII (1989), n. 3, pp. 397-406

-DUMITRESCU (T.), Reconstructing and repositioning Regis’s Ave Maria … virgo serena, Vol. XXXVII (2009), n. 1, pp. 73-88

-DYER (J.), Singing with proper refinement, Vol. VI (1978), n. 2, pp. 207-229

-DYSON (R.), Bend the finger at all three joints: Wanda Landowska’s teaching methods, Vol. III (1975), n. 3, pp. 240-241

-EARP (L.), Texting in 15th-century French chansons: a look ahead from the 14th century, Vol. XIX (1991), n. 2, pp. 194-212

-EBERLEIN (R.), The Faenza Codex: music for organ or for lute duet?, Vol. XX (1992), n. 3, pp. 460-465

-EBISAWA (B.), The Requiem: mirror of Mozart performance history, Vol. XX (1992), n. 2, pp. 279-296

-EBY (J.), A Requiem Mass for Louis XV: Charles d’Helfer, François Giroust and the Missa pro defunctis of 1775, Vol. XXIX  (2001), n. 2, pp. 218-233

-EDGE (D.), Mozart’s Viennese orchestras, Vol. XX (1992), n. 1, pp. 64-88

-EDWARDS (W.), Alexander Agricola and intuitive syllable deployment, Vol. XXXIV (2006), n. 3, pp. 409-426

-EICHNER (B.), Sweet singing in three voices: a musical source from a South German convent?, Vol. XXXIX (2011), n. 3, pp. 335-348

-EIGELDINGER (J.J.), Chopin and Pleyel, Vol. XXIX  (2001), n. 3, pp. 388-397

-EISEN (C.), Another look at the “corrupt passage” in Mozart’s G minor symphony, K550: its sources, “solution” and implications for the composition of the final trilogy, Vol. XXV (1997), n. 3, pp. 373-381

  • The old and new Mozart editions, Vol. XIX (1991), n. 4, pp. 513-532
  • Mozart’s Salzburg orchestras, Vol. XX (1992), n. 1, pp. 89-104

-ELDERS (W.), A new case of number symbolism in Josquin?, Vol. XXXVII (2009), n. 1, pp. 21-25

  • The performance of cantus firmi in Josquin’s Masses based on secular monophonic song, Vol. XVII (1989), n. 3, pp. 330-342

-ELIAS (C.A.), Musical performance in 16th-century Italian literature: Straparola’s Le piacevoli notti, Vol. XVII (1989), n. 2, pp. 161-174

-ESTUDANTE (P.), A new 17th-century Iberian source of instrumental music, Vol. XXXIV (2006), n. 4, pp. 645-660

-EVANS (J.M.), A unique cantus firmus usage in a 15th-century English Mass movement, Vol. XXVI (1998), n. 3, pp. 469-477

-FABIAN (D.) & SCHUBERT (E.), A new perspective on the performance of dotted rhythms, Vol. XXXVIII (2010), n. 4, pp. 585-588

-FABRIS (D.), 25 years of early music in Italy, Vol. XXV (1997), n. 4, pp. 573

-FADER (D.), Philippe II d’Orléans’s “chanteurs italiens”, the Italian cantata and the gouts-réunis under Louis XIV, Vol. XXXV (2007), n. 2, pp. 237-250

-FAJARDO (R.J.), New flute embouchure sections, Vol. I (1973), n. 3, n. 153-154

-FALLOWS (D.), Guillaume de Machaut and the Lai: a new source, Vol. V (1977), n. 4, pp. 477-483

  • Johannes Ockeghem, Vol. XII (1984), n. 2, pp. 218-230
  • Josquin and “Ill n’est plaisir”, Vol. XXXVII (2009), n. 1, pp. 3-8
  • Naples 1460-90, Vol. VIII (1980), n. 4, pp. 493-501
  • Performing early music on record 1: the Italian Trecento, Vol. III (1975), n. 3, pp. 252- 260
  • Two early music revolutions, Vol. XXV (1997), n. 4, pp. 564-566
  • Two more Dufay songs reconstructed, Vol. III (1975), n. 3, p. 358
  • Words and music in two English songs of the mid- 15th century: Charles d’Orléans and John Lydgate, Vol. V (1977), n. 1, pp. 38-44

-FANELLI (J.G.), A sweet bird of youth: Caffarelli in Pistoia, Vol. XXVII (1999), n. 1, pp. 55-64

-FENLON (I.), Giaches de Wert at Novellara, Vol. XXVII (1999), n. 1, pp. 25-41

  • Monteverdi’s Mantuan Orfeo, Vol. XII (1984), n. 2, pp. 163-172
  • St Mark’s before Willaert, , Vol. XXI (1993), n. 4, pp. 547-564
  • The Monteverdi Vespers: suggested answers to some fundamental questions, Vol. V (1977), n. 3, pp. 380-388

-FENLON (I.) & KEYTE (H.), Memorialls of great skill, Vol. VIII (1980), n. 3, pp. 329-338

-FERGUSON (F.), The Classical keyboard concerto, Vol. XII (1984), n. 4, pp. 437-446

-FIELD (C.D.S.), Stephen Bing’s copies of Coprario fantasia-suites, Vol. XXVII (1999), n. 2, pp. 311-318

-FITCH (F.), ‘Agricolesque, ou Presque’ : for the Agricola quincentenary, Vol. XXXIV (2006), n. 3, pp. 359-374

  • Be in my video, Vol. XXV (1997), n. 4, pp. 577-581
  • Hearing John Browne’s motets: registral space in the music of the Eton Choirbook, Vol. XXXVI (2008), n. 1, pp. 19-40
  • O tempora! O mores!: a new recording of Obrecht’s Missa Maria zart, Vol. XXIV (1996), n. 3., pp. 485-496

-FITZPATRICK (H.), The medieval recorder, Vol. III (1975), n. 3, pp. 361-364

-FIUMARA (A.), Escobedo’s Missa Philippus Rex Hispanie: a Spanish descendant of Josquin’s Hercules Mass, Vol. XXVIII (2000), n. 1, pp. 50-64

-FLEMING (M.), A bridge to the past: investigating an old viol bridge at Haddon Hall, Vol. XXVII (1999), n. 2, pp. 235-248

-FLOTHUIS (M.), The Neue Mozart-Ausgabe: a retrospect, Vol. XIX (1991), n. 4, pp. 533-537

-FONTIJIN (C.A.), Quantz’s unegal: implications for the performance of 18th – century music, Vol. XXIII (1995), n. 1, pp. 54-64

-FORD (T.), Andrea Sacchi’s’Apollo crowning the singer Marc Antonio Pasqualini’, Vol. XII (1984), n. 1, pp. 79-84

-FORMENT (B.), An enigmatic souvenir of Venetian opera: Alessandro Piazza’s Teatro (1702), Vol. XXXVIII (2010), n. 3, pp. 387-403

-FOSTER (C.), The bassanelli reconstructed: a radical solution to an enigma, Vol. XX (1992), n. 3, pp. 417-426

-FREEMAN (D.E.), An 18th – century singer’s commission of “baggage” arias, Vol. XX (1992), n. 3, pp. 427-433

-FREIS (W.), Perfecting the perfect instrument: Fray Juan Bermudo on the tuning and temperament of the vihuela de mano, Vol. XXIII (1995), n. 3, pp. 421-436

-FRIESENHAGEN (A.), Haydn’s symphonies: problems of instrumentation and performance tradition, Vol. XXXIX (2011), n. 2, pp. 253-262

-FULLER (D.),Andreas Streicher’s notes on the fortepiano, Vol. XII (1984), n. 4, pp. 461-470

  • A new French harpsichord source of the mid-18th century with an Eckard connection, Vol. XXI (1993), n. 3, pp. 423-428
  • An unknown French ornament table from 1699, Vol. IX (1981), n. 1, pp. 55-62
  • Dotting, the “French style” and Frederick Neumann’s Counter-Reformation, Vol. V (1977), n. 4, pp. 517-542
  • French harpsichord playing in the 17th century: after le Gallois, Vol. IV (1976), n. 1, pp. 22-26
  • More on triplets and inequality, Vol. XV (1987), n. 3, pp. 384-385
  • “Sous les doits de Chambonniere”, Vol. XXI (1993), n. 2, pp. 191-202

-GABLE (F.), St Gertrude’s Chapel, Hamburg, and the performance of polychoral music, Vol. XV (1987), n. 2, pp. 229-242

-GALBRAITH (D.), Thomas Wright’s innovative method for expressing tempos, as shown in his Concerto for harpsichord or piano forte (1797), Vol. XXXIX (2011), n. 3, pp. 409-414

-GANCARCZYK (P.), Abbot Martin Rinkenberg and the origins of the “Glogauer Liederbuch”, Vol. XXXVII (2009), n. 1, pp. 27-35

-GARDEN (G.), A link between opera and cantata in France: tonal design in the music of André Campara, Vol. XXI (1993), n. 3, pp. 397-414

-GARGIULO (P.), “An aristocratic dilettante”: notes on the life and works of Antonio Bicci (1552-1614), Vol. XXVII (1999), n. 4, pp. 600-607

-GERMANN (S.), Monsieur Doublet and his confrères, Vol. VIII (1980), n. 4, pp. 435-453

  • Monsieur Doublet and his confrères 2, Vol. IX (1981), n. 2, pp. 192-212
  • “Mrs Crawley’s Couchet” reconsidered – A new attribution for an Edinburgh harpsichord, Vol. VII (1979), n. 4, pp. 473-480

-GIALDRONI (T.M.) & ZIINO (A.), New light on Ottaviano Petrucci’s activity, 1520-38: an unknown print of the Motteti dal fiore,  Vol. XXIX  (2001), n. 4, pp. 500-533

-GIANNINI (T.), Jacques Hotteterre le Romain and his father, Martin: a re – examination based on recently found documents, Vol. XXI (1993), n. 3, pp. 377-396

-GIDWITZ (P.L.), ‘Ich bin die erste Sängerin’: vocal profiles oft wo Mozart sopranos, Vol. XIX (1991), n. 4, pp. 565-579

-GILL (D.), The de Gallot guitar books, Vol. VI (1978), n. 1, pp. 79-88

  • The stringing of the five-course baroque guitar, Vol. III (1975), n. 3, p. 370
  • Vihuelas, violas and the Spanish guitar, Vol. IX (1981), n. 4, p. 455

-GIULIANI (R.), Marenzio on record, Vol. XXVII (1999), n. 4, pp. 641-654

-GLIXON (B.L.), Music for the gods?: a dispute concernering Francesco Lucio’s Gl’amori di Alessandro Magno, e di Rossane, Vol. XXVI (1998), n. 3, pp. 445-456

-GLÖCKNER (A.), On the performing forces of Johann Sebastian Bach’s Leipzig church music, Vol. XXXVIII (2010), n. 2, p. 215

  • “The ripienists must also be at least eight, namely two for each part”: The Leipzig line of 1730 – some observations, Vol. XXXIX (2011), n. 4, pp. 575-586

-GLOVER (J.), Mozart’s orchestral music on record, Vol. XX (1992), n. 2, pp. 267-274

-GOOD (E.), What did Cristofori call his invention?, Vol. XXXIII (2005), n. 1, pp. 95-98

-GOBLE (E.), Keyboard lessons with Arnold Dolmetsch, Vol. V (1977), n. 1, pp. 89-91

-GODT (I.), Reading ligatures from their ground state, Vol. IV (1976), n. 1, p. 4

-GODWIN (J.), “Main divers acors”. Some instrument collections of the Ars Nova period, Vol. V (1977), n. 2, pp. 148-159

  • Playing from Original Notation, Vol. II (1974), n. 1, pp. 15-19

-GOFF (M.), “Actions, Manners, and Passions”: entr’acte dancing on the London stage, 1700-1737, Vol. XXVI (1998), n. 2, pp. 213-229

  • The testament and last will of Jerome Francis Gahory, Vol. XXXVIII (2010), n. 4, pp. 537-542

-GOLDBERG (C.), A listener’s odyssey, Vol. XXV (1997), n. 4, p. 571

-GOLDIE (M.), The earliest notice of Purcell’s Dido and Aeneas, Vol. XX (1992), n. 3, pp. 392-401

-GÓMEZ (M.), Minstrel schools in the late Middle Ages, Vol. XVIII (1989), n. 2, pp. 213-217

  • Some precursors of the Spanish lute school, Vol. XX (1992), n. 4, pp. 583-593

-GOSINE (C.J.) & OLAND (E.), Docere, delectare, movere: Marc-Antoine Charpentier and Jesuit spirituality, Vol. XXXII (2004), n. 4, pp. 511-539

-GRABOWSKI (C.), Wessel’s Complete Collection of the Compositions of Frederic Chopin: the history of a title-page, Vol. XXIX  (2001), n. 3, pp. 424-433

-GRAMPP (F.B.), On a Roman polychoral performance in August 1665, Vol. XXXVI (2008), n. 3, pp. 415-432

-GREEN (R.A.), Eighteenth-century French chamber music for vielle, Vol. XV (1987), n. 4, pp. 469-479

  • The pardessus de viole and its literature, Vol. X (1982), n. 3, pp. 301-308

-GREENLEE (R.), Dispositione di voce: passage to florid singing, Vol. XV (1987), n. 1, pp. 47-56

-GREER (D.), Two songs by William Corkine, Vol. XI (1983), n. 3, pp. 346-350

-GREIG (D.), Sight-readings: notes on a cappella performance practice, Vol. XXIII (1995), n. 1, pp. 124-150

-GRIFFITHS (J.), Esteban Daza: a gentleman musician in Renaissance Spain, Vol. XXIII (1995), n. 3, pp. 437-449

  • Hidalgo, merchant, poet, priest: the vihuela in the urban soundscape, Vol. XXXVII (2009), n. 3, pp. 355-366

-GRIMSHAW (J.), Fuga in early Byrd, Vol. XXXVII (2009), n. 2, pp. 251-266

  • Morley’s rule for first-species canon, Vol. XXXIV (2006), n. 4, pp. 661-668

-GUION (D.M.), The missing link: the trombone in Italy in the 17th and 18th centuries, Vol. XXXIV (2006), n. 2, pp. 225-231

-GUTKNECHT (D.), Performance practice of recitative secco in the first half of the 18th century: a contribution to the debate over the interpretation of recitative, particularly in Handel’s operas, Vol. XXXIII (2005), n. 3, p. 473

-GUZMÁN-BRAVO (J.A.), Mexico, home of the first musical instrument workshops in America, Vol. VI (1978), n. 3, pp. 350-355

-GWYNN (D.), Purcell’s organ at Westminster Abbey, Vol. XXIII (1995), n. 4, pp. 550-552

-HAAKENSON (M.), Two Spanish brothers revisited: recent research surrounding the life and instrumental music of Juan Bautista Pla and José Pla, Vol. XXXV (2007), n. 1, pp. 83-96

-HADAWAY (R.), A knot of harp strings, Vol. XI (1983), n. 1, pp. 65-68

  • Another look at the viol, Vol. VI (1978), n. 4, pp. 530-539
  • The cittern, Vol. I (1973), n. 2, pp. 77-81
  • The re-creation of an Italian renaissance harp, Vol. VIII (1980), n. 1, pp. 59-64

-HAGGH (B.), Itineracy to residency: professional careers and performance practices in 15th-century sacred music, Vol. XVII (1989), n. 3, pp. 359-367

  • New publications in Dutch on music before 1700 and a newly discovered 15th-century Dutch manuscript with songs, Vol. XXV (1997), n. 1, pp. 121-130

-HAINES (J.), A musical fragment from Anglo-Saxon England, Vol. XXXVI (2008), n. 2, pp. 219-229

  • New light on the polyphonic sequence Ave virgo, virga Jesse, Vol. XXXIV (2006), n. 1, pp. 55
  • The Arabic style of performing medieval music, Vol. XXIX (2001), n. 3, pp. 369-380

-HALL (M.J.L.), Performing music on record 6: the vihuela repertoire, Vol. V (1977), n. 1, pp. 59-66

-HALL (M.), The chittarra atiorbata and the guittare theorbée: a reappraisal, Vol. XXXIX (2011), n. 1, pp. 25-34

  • The “Guitarra española” of Joan Carles Amat, Vol. VI (1978), n. 3, pp. 362-372

-HAMILTON (D.), 100 years of Mozart recordings, Vol. XX (1992), n. 2, pp. 275-278

-HANCHET(J.F.), Adjustment and control of double reeds, Vol. VIII (1980), n. 3, pp. 361-366

-HARAMAKI (G.), ‘In grembo a Citherea’: the representation of ingenium and ars in Claudio Monteverdi’s Tempro la cetra, Vol. XXXIX (2011), n. 4, pp. 503-518

-HARDEN (J.), “Musica Ficta” in Machaut, Vol. V (1977), n. 4, pp. 473-476

-HARICH – SCHNEIDER (E.), Renaissance Europe through Japanese eyes, Vol. I (1973), n. 1, pp. 19-25

-HARLEY (J.), Two Jacobean songs, Vol. VI (1978), n. 3, pp. 385-390

-HARRIS-WARRICK (R.), Ballroom dancing at the court of Louis XIV, Vol. XIV (1986), n. 1, pp. 41-50

  • From score into sound: questions of scoring in Lully’s ballets, Vol. XXI (1993), n. 3, pp. 354-364

-HART (A.), New findings on the possible copyists and owners of the Scarlatti sonata manuscripts in Münster: the role of Antonino Reggio, Vol. XXXIX (2011), n. 1, pp. 57-64

-HARWOOD (I.), A case of double standards?, Vol. IX (1981), n. 4, pp. 470-485

  • An introduction to renaissance viols, Vol. II (1974), n. 4, pp. 235-246

-HARWOOD (I.) & EDMUNDS (M.), Reconstructing 16th-century Venetian viols, Vol. VI (1978), n. 4, pp. 519-525

-HATTER (J.), Col tempo: musical time, aging and sexuality in 16th-century Venetian paintings, Vol. XXXIX (2011), n. 1, pp. 3-14

-HAYNES (B.), Beyond temperament: non-keyboard intonation in the 17th and 18th centuries, Vol. XIX (1991), n. 3, pp. 357-382

  • Lully and the rise of the oboe as seen in works of art, Vol. XVI (1988), n. 3, pp. 324-338
  • Making reeds for the baroque oboe 1, Vol. IV (1976), n. 1, pp. 31-34
  • Making reeds for the baroque oboe 2, Vol. IV (1976), n. 2, pp. 173-182
  • Mozart and the oboe, Vol. XX (1992), n. 1, pp. 43-63
  • Tonality and the baroque oboe, Vol. VII (1979), n. 3, pp. 355-358

-HEAD (R.), Corelli in Calcutta, Vol. XIII (1985), n. 4, pp. 548-553

-HEARTZ (D.), Farinelli and Metastasio, Vol. XII (1984), n. 3, pp. 358-368

  • Farinelli revisited, Vol. XVIII (1990), n. 3, pp. 430-448
  • Susanna’s hat, Vol. XIX (1991), n. 4, pp. 585-590
  • The Concert Spirituel in the Tuileries palace, Vol. XXI (1993), n. 2, pp. 240-250
  • The Beggar’s Opera and opéra-comique en vaudevilles, Vol. XXVII (1999), n. 1, pp. 42-54

-HEBBERT (B.M.), A new portrait of Nicholas Lanier,  Vol. XXXVIII (2010), n. 4, pp. 509-522

-HELM (E.E.), The editorial transmission of C.P.E. Bach’s music, Vol. XVII (1989), n. 1, pp. 132-42

-HELLER (W.), Reforming Achilles: gender, opera seria and the rhetoric of the enlightened hero, Vol. XXVI (1998), n. 4, pp. 562-582

-HELLWIG (F.), The morphology of lutes with extended bass string, Vol. IX (1981), n. 4, pp. 447-454

-HENNING (U.), The most beautiful among the claviers, Vol. X (1982), n. 4, pp. 477-486

-HERBERT (T.) & MYERS (A.), Music for the multitude: accounts of brass bands entering Enderby Jackson’s Crystal Palace contests in the 1860s, Vol. XXXVIII (2010), n. 4, pp. 571-584

-HERZOG (M.), Is the quinton a viol? A puzzle unravelled, Vol. XXVIII (2000), n. 1, pp. 8-31

-HIGBEE (D.), Baroque flute discography, Vol. VII (1979), n. 2, pp. 250-253

-HILEY (D.), Recent research on the origins of Western chant, Vol. XVI (1988), n. 2, pp. 203-213

-HILL (R.), Echtheit angezweifelt, Vol. XIII (1985), n. 2, pp. 248-255

-HILTON (W.), A dance for kings: the 17th-century French Courante Its character, step-patterns, metric and proportional foundations, Vol. V (1977), n. 2, pp. 160-172

  • Dances to music by Jean-Baptiste Lully, Vol. XIV (1986), n. 1, pp. 51-63

-HOEKSTRA (G.R.), An eight-voice parody of Lassus, Vol. VII (1979), n. 3, pp. 367-377

-HOEPRICH (T.E.), Clarinet reed position in the 18th century, Vol. XII (1984), n. 1, pp. 48-55

  • Finding a clarinet for the three concertos by Vivaldi, XI (1983), n. 1, pp. 61-64
  • “Regarding the clarinet”: Allgemaine musikalische Zeitung, 1808, Vol. XXXVII (2009), n. 1, pp. 89-99
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-HOLFORD-STREVENS (L.), “Her eyes became two spouts”: classical antecedents of Renaissance laments, Vol. XXVII (1999), n. 3, pp. 379-494

-HOLLOWAY (J.), Corelli’s op.5: text, act … and reaction, Vol. XXIV (1996), n. 4, pp. 635-644

-HOLMAN (P.), An orchestral suite by François Couperin?, Vol. XIV (1986), n. 1, pp. 71-78

  • Buxtehude on CD: a tercentenary survey, Vol. XXXV (2007), n. 3, pp. 385-396
  • ‘Col nobilissimo esercitio della vivuola’: Monteverdi’s string writing, Vol. XXI (1993), n. 4, pp. 576-592
  • Compositional choices in Henry Purcell’s Three Parts upon a Ground, Vol. XXIX (2001), n. 2, pp. 250-261
  • Continuo realizations in a Playford songbook, Vol. VI (1978), n. 2, pp. 268-270
  • English trumpets – a response, Vol. XIX (1991), n. 3, pp. 443-444
  • The trumpet sonata in England, Vol. IV (1976), n. 4, pp. 424-429
  • Suites by Jenkins rediscovered: with Suite No. 7 in B flat for three violins and continuoVI (1978), n. 1, pp. 25-35
  • The Colchester partbooks, Vol. XXVIII (2000), n. 4, pp. 577-594
  • The harp in Stuart England, Vol. XV (1987), n. 2, pp. 188-204

-HOLMAN (P.) & MAUNDER (R.), The accompaniment of concertos in 18th-century England, Vol. XXVIII (2000), n. 4, pp. 636-652

-HOLMES (W.C.), Righini in Florence: an artistic conflict, Vol. XVII (1989), n. 4, pp. 539-550

-HOLOMAN (D.K.), Staging The Play of Daniel, Vol. IV (1976), n. 2, pp. 159-164

-HOLST (I.), A learner’s questions on Eastern influences, Vol. V (1977), n. 3, pp. 364-370

-HOWARD (P.), Guadagni in the dock: a crisis in the career of a castrato, Vol. XXVII (1999), n. 1, pp. 87-95

-HSU (J.), The use of the bow in French solo viol playing of the 17th and 18th centuries, Vol. VI (1978), n. 4, pp. 526-529

-HUGHES (A.), Chants in the rhymed Office of St Thomas of Canterbury, Vol. XVI (1988), n. 2, p. 185

-HULSE (L.), “Music & Poetry, Mixed”: Thomas Jordan’s manuscript collection, Vol. XXIV (1996), n. 1, pp. 7-26

-HUMPHREYS (D.), A study in emulation: Philip van Wilder’s En despit des envyeulx, Vol. XXIX  (2001), n. 1, pp. 93-108

  • George Kirbye’s Clemens parody, Vol. XXXVI (2008), n. 1, pp. 41-49

-HUNTER (D.), Bridging the gap: the patrons-in-common of Purcell and Handel, Vol. XXXVII (2009), n. 4, pp. 621-622

  • Handel’s students, two lovers and a shipwreck, Vol. XXXIX (2011), n. 2, pp. 157-164
  • Patronizing Handel, inventing audiences: the intersections of class, money, music and history, Vol. XXVIII (2000), n. 1, pp. 32-49
  • The Dublin Virginal Manuscript: new perspectives on virginalist ornamentation, Vol. XXX (2002), n. 1, pp. 68-81

-INGLEHEARN (M.), Swedish sword dances in the 16th and 17th centuries, Vol. XIV (1986), n. 3, pp. 367-372

-IRVING (D.), Musical politics of empire: the Spanish loa in 18th-century Manila, Vol. XXXII (2004), n. 3, pp. 384-401

-IRVING (J.), Consort playing in mid-17th-century Worcester, Vol. XII (1984), n. 3, pp. 337-344

-JACKSON (R.), Marenzio, Poland and the late polychoral sacred style, Vol. XXVII (1999), n. 4, p. 622

-JANDER (O.), The “Kreutzer” Sonata as dialogue, Vol. XVI (1988), n. 1, pp. 34-49

-JAS (E.), What’s in a quote? Josquin’s (?) Jubilate Deo, omnis terra reconsidered,Vol. XXXVII (2009), n. 1, pp. 9-20

-JEFFREY (B.), The lute music of Robert Johnson, Vol. II (1974), n. 2, pp. 105-110

-JENKINS (J.), Geneviève Thibault, Madame le Chambure, Vol. IV (1976), n. 1, pp. 39-40

-JENSEN (D.P.), A Florentine harpsichord: revealing a transitional technology, Vol. XXVI (1998), n. 1, pp. 70-86

-JEROLD (B.), How composers viewed performers’ addition, Vol. XXXVI (2008), n. 1, pp. 95-110

-JENSEN (R.d’A.), The Guitar and Italian song, Vol. XIII (1985), n. 3, p. 376

-JIMÉNEZ (J.R.), Infunde amorem cordibus: an early 16th-century polyphonic hymn cycle from Seville, Vol. XXXIII (2005), n. 4, pp. 619-638

  • Power and musical exchange: the Dukes of Medina Sidonia in Renaissance Seville, Vol. XXXVII (2009), n. 3, pp. 401-415

-JOHNSON (C.T.), A modern approach to the historic organ, Vol. VIII (1980), n. 2, pp. 173-177

-JOHNSON (J.T.), The rules for “Trough Bass” and for tuning attributed to Handel, Vol. XVII (1989), n. 1, pp. 70-78

-JOHNSTON (G.S.), Polyphonic keyboard accompaniment in the early Baroque: an alternative to basso continuo, Vol. XXVI (1998), n. 51, pp. 51-65

  • Textual symmetries and the origins of Heinrich Schütz’s Musikalische Exequien, Vol. XIX (1991), n. 2, pp. 213-226

-JOHNSTONE (H.D.), A flourish for Handel, Vol. XXIX  (2001), n. 4, pp. 619-625

  • “High” clefs in composition and performance, Vol. XXXIV (2006), n. 1, pp. 29-54
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-JONES (A.V.), Staging a Handel opera, Vol. XXXIV (2006), n. 2, pp. 277-288

-JONES (P.), Spectacle in Milan: Cesare Negri’s torch dances, Vol. XIV (1986), n. 2, pp. 182-198

-JONES (S.), Source and stream: early music and living traditions in China, Vol. XXIV (1996), n. 3, pp. 374-390

  • The legacy of the “stupendious” Nicola Matteis, Vol. XXIX (2001), n. 4, pp. 553-569

-JUDD (R.), Repeat problems in keyboard settings of canzoni alla francese, Vol. XVII (1989), n. 2, pp. 198-215

-KALLBERG (J.), Chopin and the aesthetic of the sketch: a new prelude in Eb minor?, Vol. XXIX  (2001), n. 3, pp. 408-423

-KARP (C.), Restoration, conservation, repair and maintenance, Vol. VII (1979), n. 1, p. 79

  • Storage climates for musical instruments, Vol. X (1982), n. 4, pp. 469-475
  • The early history of the clarinet and chalumeau, Vol. XIV (1986), n. 4, pp. 545-551

-KARP (T.), A serendipitous encounter with St Kilian, Vol. XXVIII (2000), n. 2, pp. 226-237

-KATZ (J.), Music and aesthetics: an early Indian perspective, Vol. XXIV (1996), n. 3, pp. 407-422

-KAUFFMAN (D.), Performance traditions and motet composition at the convent school at Saint-Cyr, Vol. XXIX  (2001), n. 2, pp. 234-249

-KEITEL (E.A.), The Musical Manuscripts of Guillaume de Machaut, Vol. V (1977), n. 4, pp. 469-472

-KENDALL (G.Y.), Theatre, dance and music in late Cinquecento Milan, Vol. XXXII (2004), n. 1, pp. 74-94

-KENNY (E.), The uses of lute song: texts, contexts and pretexts for “historically informed” performance, Vol. XXXVI (2008), n. 2, pp. 285-300

-KENYON (N.), A Hogarth puzzle, Vol. XXVI (1998), n. 1, pp. 66-69

  • The economics of early music, Vol. IV (1976), n. 4, pp. 443-447
  • Time to talk back to treatises!, Vol. XXV (1997), n. 4, pp. 555-556

-KERMAN (J.), The Byrd Edition – in print and on disc, Vol. XXIX  (2001), n. 1, pp. 109-120

-KESSLER (D.M.), Viol construction in 17th-century England, Vol. X (1982), n. 3, pp. 340-345

-KETTLEWELL (D.), First steps on the dulcimer, Vol. II (1974), n. 4, pp. 247-253

-KEVORKIAN (T.), The reception of the cantata during Leipzig church services, 1700-1750, Vol. XXX  (2002), n. 1, pp. 26-45

-KEYL (S.), Tenorlied, Discantlied, polyphonic lied: voices and instruments in German secular polyphony of the Renaissance, Vol. XX (1992), n. 3, pp. 434-445

-KIEL (J.), A 16th-century manuscript in Regensburg, Vol. XXXVII (2009), n. 1, pp. 49-59

-KIM (M.), Significance and effect of the stile antico in Handel’s oratorios, Vol. XXXIX (2011), n. 4, pp. 563-574

-KINDERMAN (W.), Subjectivity and objectivity in Mozart performance, Vol. XIX (1991), n. 4, pp. 593-600

-KING (A.H.), ,Morality and music: a study of a Flemish transformation scene of the later 16th century, Vol. XVI (1988), n. 4, pp. 553-558

-KING (R.), “How to be an emperor”: acting Alexander the Great in opera seria, Vol. XXXVI (2008), n. 2, pp. 181-202

-KINTZEL (R.), “…so beautiful that I was almost beside myself”: Vivaldi and the Basel Collegium Musicum, , Vol. XXXVIII (2010), n. 1, pp. 113-118

-KIRK (D.), Instrumental music in Lerma, c.1608, Vol. XXIII (1995), n. 3, pp. 393-409

-KIRKPATRICK (R.), C. pp. E. Bach’s Versuch reconsidered, Vol. IV (1976), n. 4, pp. 384-392

  • Fifty years of harpsichord playing, Vol. XI (1983), n. 1, pp. 31-40
  • On playing the clavichord, Vol. IX (1981), n. 3, pp. 293-306
  • On re-reading Couperin’s l’Art de Toucher le Clavecin, Vol. IV (1976), n. 1, pp. 3-11

-KIRNBAUER (M.), ‘si chiama fagotto’: concerning a drawing of musical instruments by Giovanni Ricamatori, otherwise known as Giovanni da Udine, Vol. XXXIX (2011), n. 2, pp. 217-228

-KIRNBAUER (M.) & THALHEIMER (P.), Jacob Denner and the development of the flute in Germany, Vol. XXIII (1995), n. 1, pp. 82-100

-KISBY (F.), Music and musicians of early Tudor Westminster, Vol. XXIII (1995), n. 2, pp. 223-242

  • Royal minstrels in the city and suburbs of early Tudor London: professional activities and private interests, Vol. XXV (1997), n. 1, pp. 199-220

-KNIGHTON (T.), ‘Music, why do you weep?’ A lament for Alexandra Agricola (d.1506), Vol. XXXIV (2006), n. 3, pp. 427-441

  • Spaces and contexts for listening in 15th-century Castile: the case of the Constable’s palace in Jaén, Vol. XXV (1997), n. 4, pp. 661
  • The a cappella heresy in Spain: an inquisition into the performance of the cancionero repertory, Vol. XX (1992), n. 4, pp. 560-582

-KONRAD (U.), Mozart’s sketches, Vol. XX (1992), n. 1, pp. 119-131

-KOOPMAN (T.), Bach’s choir, an ongoing story, Vol. XXVI (1998), n. 1, pp. 109-121

  • Recording Bach’s early cantatas, Vol. XXIV (1996), n. 4, pp. 604-622

-KÖRNDLE (F.), Orlando di Lasso’s “Fireworks” music, Vol. XXXII (2004), n. 1, pp. 96-117

-KORRICK (L.), Instrumental music in the early 16th-century Mass: new evidence, Vol. XVIII (1990), n. 2, pp. 359-370

-KOSTER (J.), A contemporary example of harpsichord fogery, Vol. XXVIII (2000), n. 1, pp. 91-97

  • A Spanish harpsichord from Domenico Scarlatti’s environs, Vol. XXXIX (2011), n. 2, pp. 245-252
  • Towards an optimal instrument: Domenico Scarlatti and the new wave of Iberian harpsichord making, Vol. XXXV (2007), n. 4, pp. 575-604

-KOUTSOBINA (V.), Readings of poetry – readings of music: intertexuality in Josquin’s Je me complains de mon amy, Vol. XXXVI (2008), n. 1, pp. 67-80

-KREITNER (K.), Bad news, or not? Thoughts on Renaissance performance practice,  Vol. XXVI (1998), n. 2, pp. 322-334

  • Minstrels in Spanish churches, 1400 – 1600, Vol. XX (1992), n. 4, pp. 532-548
  • Peñalosa on record, Vol. XXII (1994), n. 2, pp. 309-320
  • The repertory of the Spanish cathedral bands, Vol. XXXVII (2009), n. 2, pp. 267-286
  • Very low ranges in the sacred music of Ockeghem and Tinctoris, Vol. XIV (1986), n. 4, pp. 467-479

-KROESBERGEN (W.) & KOOPMAN (T.), Harpsichord building in Holland, Vol. IV (1976), n. 4, pp. 439-442

-KROESBERGEN (W.), & WENTZ (J.), Sonority in the 18th century, un poco più forte?, Vol. XXII (1994), n. 3, pp. 482-496

-KUIJKEN (S.), A Bach odyssey, Vol. XXXVIII (2010), n. 2, pp. 263-272

-KUIJKEN (W.) & HOGWOOD (C.), On the viol, Vol. VI (1978), n. 1, pp. 4-11

-KURTZMAN (J.), Monteverdi’s “Mass of Thanksgiving” revisited, Vol. XXII (1994), n. 1, pp. 63-85

  • Tones, modes, clefs and pitch in Roman cyclic Magnificats of the 16th century, Vol. XXII (1994), n. 4, pp. 641-665

-LAM (B.), Authenticity and the St John Passion, Vol. V (1977), n. 1, pp. 45-50

-LAMOTHE (V.C.), Dancing at a wedding: some thoughts on performance issues in Monteverdi’s “Lasciate I monti” (Orfeo, 1607), Vol. XXXVI (2008), n. 4, pp. 533-545

-LANDMANN (O.), The Dresden Hofkapelle during the lifetime of Johann Sebastian Bach, Vol. XVII (1989), n. 1, pp. 17-31

-LANDON (H.C.R.), Hydn on record 1, Vol. X (1982), n. 3, pp. 351-364

  • Haydn on record 2, Vol. X (1982), n. 4, pp. 505-516

-LANGE (H.) & THOMSON (J.M.), The baroque bassoon, Vol. VII (1979), n. 3, pp. 346-350

-LASOCKI (D.), Professional recorder playing in England 1500-1740; I: 1500-1640, Vol. X (1982), n. 1, pp. 23-28

  • Professional recorder playing in England 1500-1740; II: 1640-1740, Vol. X (1982), n. 2, pp. 183-191
  • Quantz and the passions: theory and practice, Vol. VI (1978), n. 4, pp. 556-567
  • The Bassanos: Anglo-Venetian and Venetian, Vol. XIV (1986), n. 4, pp. 558-562
  • The French hautboy in England, 1673-1730, Vol. XVI (1988), n. 3, pp. 339-357

-LASOCKI (D.) & BEST (T.), A new flute sonata by Handel, Vol. IX (1981), n. 3, pp. 307-311

-LATCHAM (M.), Don Quixote and Wanda Landowska: bells and Pleyels, Vol. XXXIV (2006), n. 1, pp. 95-110

  • Mozart and the pianos of Gabriel Anton Walter, Vol. XXV (1997), n. 3, pp. 382-402
  • Pianos and harpsichord for Their Majesties, Vol. XXXVI (2008), n. 3, pp. 359-396
  • The check in some early pianos and the development of piano technique around the turn of the 18th century, Vol. XXI (1993), n. 1, pp. 28-43

-LATEINER (J.), An interpreter’s approach to Mozart, Vol. XX (1992), n. 2, pp. 245-253

-LAWSON (C.), Telemann and the chalumeau, Vol. IX (1981), n. 3, pp. 312-319

  • The basset clarinet revived, Vol. XV (1987), n. 4, pp. 487-502
  • The chalumeau, Vol. VII (1979), n. 3, pp. 351-354

-LEACH (E.E.), Guillaume de Machaut, royal almoner: Honte, paour (B25) and Donnez, signeurs (B26) in context, Vol. XXXVIII (2010), n. 1, pp. 21-42

  • Learning French by singing in 15th-century England, Vol. XXXIII (2005), n. 2, pp. 253-271

-LEAVER (R.A.), Bach and hymnody, Vol. XIII (1985), n. 2, pp. 227-236

-LEDBETTER (D.), On the manner of playing the Adagio : neglected features of a genre, Vol. XXIX  (2001), n. 1, pp. 15-28

-LEECH (P.), Music and musicians in the Catholic chapel of James II at Whitehall, 1686-1688, Vol. XXXIX (2011), n. 3, pp. 379-400

  • Musicians in the Catholic chapel of Catherine of Braganza, 1662 – 92, Vol. XXIX (2001), n. 4, p. 570

-LEECH-WILKINSON (D.), Le Chansonnier Cordiforme, Vol. IX (1981), n. 2, pp. 213-218

  • My Lady’s Tears: a pair of songs by John Dowland, Vol. XIX (1991), n. 2, pp. 227-232

-LEFFERTS (P.M.), Subtilitas in the tonal language of Fumeux fume, Vol. XVI (1988), n. 2, pp. 176-184

-LEHMAN (B.), Bach’s extraordinary temperament: our Rosetta Stone – 1, Vol. XXXIII (2005), n. 1, pp. 3-24

  • Bach’s extraordinary temperament: our Rosetta Stone – 2, Vol. XXXIII (2005), n. 2, pp. 211-230

-LEPPERT (R.D.), Concert in a house, Vol. VII (1979), n. 1, pp. 3-17

  • Imagery, musical confrontation and cultural difference in early 18th-century London, Vol. XIV (1986), n. 3, pp. 323-345

-LEVIN (M.J.) & ZOHN (S.), Don Juan de Austria and the Venetian music trade, Vol. XXXIII (2005), n. 3, pp. 439-448

-LEVIN (R.D.), Improvised embellishments in Mozart’s keyboard music, Vol. XX (1992), n. 2, pp. 221-236

  • Performance prerogatives in Schubert, Vol. XXV (1997), n. 4, pp. 723-727

-LEZA (J.M.), Metastasio on the Spanish stage: operatic adaptations in the public theatres of Madrid in the 1730s, Vol. XXVI (1998), n. 4, pp. 623-631

-LIBIN (L.), A rediscovered portrayal of Rameau and Castor et Pollux, Vol. XI (1983), n. 4, pp. 510-514

  • A remarkable guitar by Lorenzo Alonso, Vol. XX (1992), n. 4, pp. 642-648
  • An 18th-century view of the harpsichord, Vol. IV (1976), n. 1, pp. 17-18
  • Early violins: problems and issues, Vol. XIX (1991), n. 1, pp. 5-8
  • Folding harpsichords, Vol. XV (1987), n. 3, pp. 378-383
  • Robert Adam’s instruments for Catherine the Great, Vol. XXIX (2001), n. 3, pp. 355-368

-LIBIN (L.) & SHANKS (K.), A harpsichord from Sorrento, Vol. XVII (1989), n.2, pp. 216-220

-LIGHTBOURNE (R.), Annibale Stabile and performance practice at two Roman institutions, Vol. XXXII (2004), n. 2, pp. 271-285

-LINDELL (R.), The wedding of Archduke Charles and Maria of Bavaria in 1571, Vol. XVIII (1989), n. 2, pp. 253-270

-LINDLEY (M.), An introduction to Alessandro Scarlatti’s Toccata prima, Vol. X (1982), n. 3, pp. 333-339

  • Early fingerings: some editing problems and some new readings for J.S. Bach and John Bull, Vol. XVII (1989), n. 1, pp. 60-69
  • Instructions for the clavier diversely tempered, Vol. V (1977), n. 1, pp. 18-23

-LINDLEY (M.) & ORTGIES (I.), Bach-style keyboard tuning, Vol. XXXIV (2006), n. 4, pp. 613-624

-LINDORFF (J.), Missionaries, keyboards and musical exchange in the Ming and Qing courts, Vol. XXXII (2004), n. 3, pp. 403-414

-LIONNET (J.), Another musical Medici coat of arms, Vol. XV (1987), n. 4, pp. 520-522

  • Performance practice in the Papal Chapel during the 17th century, Vol. XV (1987), n. 1, pp. 4-15

-LITTERICK (L.), Performing Franco-Netherlandish secular music of the late fifteenth century, Vol. VIII (1980), n. 4, pp. 474-486

-LITTLE (M.E.), Dance under Louis XIV and XV, Vol. III (1975), n. 3, pp. 331-340

  • Recent research in European dance, 1400-1800, Vol. XIV (1986), n. 1, pp. 4-14

-LLOYD (R.), Music at the parish church of St Mary at Hill, London, Vol. XXV (1997), n. 2, pp. 221-228

-LOCKWOOD (L.), Performance and “authenticity”, Vol. XIX (1991), n. 4, pp. 501-511

-LONGYEAR (R.M.), An ornamented opera aria of c. 1815, Vol. XV (1987), n. 1, pp. 71-73

-LÓPEZ (J.M.), The music inventory of Mexico Cathedral, 1589: a lost document rediscovered, Vol. XXXVI (2008), n. 4, pp. 575-596

-LORETTO (A.), Recorder modifications, Vol. I (1973), n. 2, pp. 107-110

  • Recorder modifications 2, Vol. I (1973), n. 3, pp. 147-153
  • Recorder modifications 3, Vol. I (1973), n. 4, pp. 229-232

-LOVE (H.), The fiddlers on the Restoration stage, Vol. VI (1978), n. 3, pp. 391

  • The satirical tune of “Amarillis”, Vol. XXXV (2007), n. 1, pp. 39-48

-LOWERRE (K.), A ballet des nations for English audiences: Europe’s revels for the peace of Ryswick (1697), Vol. XXXV (2007), n. 3, pp. 419-433

-MACEY (P.), Josquin’s Misericordias Domini and Louis XI, Vol. XIX (1991), n. 2, pp. 163-177

-MACKLIN (C.), Approaches to the use of iconography in historical reconstruction, and the curious case of renaissance Welsh harp technique, Vol. XXXV (2007), n. 3, pp. 213-224

-MACMILLAN (D.), The English flageolet, 1800-1900, Vol. XXXVIII (2010), n. 4, pp. 559-570

  • The mysterious cornamuse, Vol. VI (1978), n. 1, pp. 75-78

-MACNEIL (A.), Weeping at the water’s edge, Vol. XXVII (1999), n. 3, pp. 406-418

-MACY (L.), Geronimo Cavaglieri, the Song of Songs and female spirituality in Federigo Borromeo’s Milan, Vol. XXXIX (2011), n. 3, pp. 349-358

-MADEUF (J.F.), The revival of the natural trumpet in the Baroque repertory: utopian or not?, , Vol. XXXVIII (2010), n. 2, p. 203

-MALLOCH (W.), Carl Czerny’s metronome marks for Haydn and Mozart symphonies, Vol. XVI (1988), n. 1, pp. 72-83

  • The minutes of Haydn and Mozart: goblins or elephants?, Vol. XXI (1993), n. 3, pp. 437-445

-MANGSEN (S.), Ad libitum procedures in instrumental duos and trios, Vol. XIX (1991), n. 1, pp. 29-42

-MARI (L.) & KURTZMAN (J.), A Monteverdi Vespers in 1611, Vol. XXXVI (2008), n. 4, pp. 547-556

-MARÍN (M.Á.), Music-selling in Boccherini’s Madrid, Vol. XXXIII (2005), n. 2, pp. 165-178

-MARISSEN (M.), A Trio in C major for recorder, violin and continuo by J.S. Bach?, Vol. XIII (1985), n. 3, pp. 384-390

-MARSH (C.), ‘The pride of noise’: drums and their repercussions in early modern England, Vol. XXXIX (2011), n. 2, pp. 203-216

-MARSHALL (K.), The organ in 14th – century Spain, Vol. XX (1992), n. 4, 549-559

-MARSHALL (M.L.), Warriors and musicians: notes from the colonna family archive, Vol. XXXIX (2011), n. 2, pp. 195-202

-MARSHALL (R.L.), Bach’s Orchestre, Vol. XIII (1985), n. 2, pp. 176-179

-MARTIN (D.), An early metronome, Vol. XVI (1988), n. 1, pp. 90-94

-MARTY (J.P.), Mozart’s tempo indications, Vol. XX (1992), n. 1, p. 141

-MARX (H.J.), A newly discovered Gloria by Hendel, Vol. XXIX  (2001), n. 3, pp. 342-354

  • The instrumentation of Handel’s early Italian works, Vol. XVI (1988), n. 4, pp. 496-505

-MATHER (C.K.), Maximilian I and his instruments, Vol. III (1975), n. 1, pp. 43-46

-MAUNDER (R.), Mozart’s keyboard instruments, Vol. XX (1992), n. 2, pp. 207-220

-MAUNDER (R.) & ROWLAND (D.), Mozart’s pedal piano, Vol. XXIII (1995), n. 2, pp. 287-297

-MAXIM (C.), A little-known keyboard plainsong setting in the Fitzwilliam Virginal Book: a key to Talli’s compositional process?, Vol. XXIX  (2001), n. 2, p. 275

-McCARTHY (K.), Byrd, Augustine and Tribue, Domine, Vol. XXXII (2004), n. 4, pp. 569-575

  • Tallis, Isidore of Seville, and Suscipe quaeso, Vol. XXXV (2007), n. 3, pp. 447-450

-McCOY (S.), Edward Paston and the textless lute-song, Vol. XV (1987), n. 2, pp. 221-228

-McGEARY (T.), Handel as art collector: art, connoisseurship and taste in Hanoverian Britain, Vol. XXXVII (2009), n. 4, pp. 533-575

-Joseph Harris, Birmingham organist (1744-1824) and his Messiah manuscript, Vol. XXXIX (2011), n. 2, pp. 165-184

-McGEE (T.J.), Instruments and the Faenza Codex, Vol. XIV (1986), n. 4, pp. 480-490

  • Once again, the Faenza Codex: a reply to Roland Eberlein, Vol. XX (1992), n. 3, pp. 466-470

-McGEE (T.J.) & MITTLER (S.E.), Information on instruments in Florentine Carnival songs, Vol. X (1982), n. 4, pp. 452-461

-McGOWAN (K.), The prince and the piper: hautbas and the whole body in early modern Europe, Vol. XXVII (1999), n. 2, pp. 211-234

  • The world of the early sackbut player: flat or round?, Vol. XXII (1994), n. 3, pp. 441-468

-McGRATTAN (A.), Italian wind instrumentalists at the Scottish royal court during the 16th century, Vol. XXIX  (2001), n. 4, pp. 534-552

-McKINNEY (T.R.), Point/counterpoint: Vicentino’s musical rebuttal to Lusitano, Vol. XXXIII (2005), n. 3, pp. 393-411

-MELAMED (D.R.), Who wrote Lassus’s most famous piece?, Vol. XXVI (1998), n. 1, pp. 6-28

-MENGOZZI (S.), “Clefless” notation, counterpoint, and the fa-degree, Vol. XXXVI (2008), n. 1, pp. 51-65

-MILHOUS (J.) & HUME (R.D.), Heidegger and the management of the Haymarket Opera, 1713-17, Vol. XXVII (1999), n. 1, pp. 65-86

  • The Haymarket Opera in 1711, Vol. XVII (1989), n. 4, pp. 523-538

-MILLER (L.E.), C.P.E. Bach and Friedrich Ludwig Dülon: composition and improvisation in late 18th – century Germany, Vol. XXIII (1995), n. 1, pp. 65-81

-MILSOM (J.), Absorbing Lassus, Vol. XXXIII (2005), n. 1, p. 99

  • Absorbing Lassus, Vol. XXXIII (2005), n. 2, p. 305
  • Byrd on record: an anniversary survey, Vol. XXI (1993), n. 3, pp. 446-451
  • Cries of Durham, Vol. XVII (1989), n. 2, pp. 147-160
  • The passing of time, Vol. XXV (1997), n. 4, pp. 583-590

-MINAMINO (H.), The Spanish plucked viola in Renaissance Italy, 1480-1530, Vol. XXXII (2004), n. 2, pp. 177-192

-MIYAZAKI (H.), New light on Ockeghem’s Missa “Mi-mi”, Vol. XIII (1985), n. 3, pp. 367-375

-MOBBS (K.), Stops and other special effects on the early piano, Vol. XII (1984), n. 4, pp. 471-476

-MOECK (H.), Recorders: hand-made and machine-made, Vol. X (1982), n. 1, pp. 10-13

-MOLE (P.), On the trail of Purcell’s spinet, Vol. XXXVI (2008), n. 3, pp. 409-414

-MONK (C.), First steps towards playing the cornett 1, Vol. III (1975), n. 2, p. 132

  • First steps towards playing the cornett 2, Vol. III (1975), n. 3, pp. 244-248
  • The London College of Furniture, Vol. II (1974), n. 2, pp. 97-101
  • Where the wind blows, Vol. I (1973), n.1, pp. 37-39
  • Where the wind blows, Vol. I (1973), n.2, pp. 101-106
  • Where the wind blows, Vol. I (1973), n.3, pp. 155-159
  • Where the wind blows, Vol. I (1973), n.4, pp. 233-238
  • Where the wind blows, Vol. II (1974), n.1, pp. 31-35
  • Where the wind blows, Vol. II (1974), n.2, pp. 111-116
  • Where the wind blows, Vol. II (1974), n.4, pp. 254-256
  • Where the wind blows, Vol. III (1975), n.1, pp. 63-65
  • Where the wind blows, Vol. III (1975), n. 3, pp. 261-262
  • Where the wind blows, Vol. IV (1976), n. 1, pp. 185-187

-MONSON (C.), Richard Nicolson: Madrigals from Jacobean Oxford, Vol. VI (1978), n. 3, pp. 429-436

-MONTAGU (J.), Choosing brass instruments, Vol. IV (1976), n. 1, pp. 35-38

  • Early Percussion techniques, Vol. II (1974), n. 1, pp. 20-25
  • Instrument restoration, Vol. II (1974), n. 4, pp. 265-269
  • Musical instruments in Hans Memling’s paintings, Vol. XXXV (2007), n. 4, pp. 505-524
  • Musical instruments in the Macclesfield Psalter, Vol. XXXIV (2006), n. 2, pp. 189-204
  • The ‘Authentic’ sound of early music, Vol. III (1975), n. 3, pp. 242-243
  • The restored Chapter House wall paintings in Westminster Abbey, Vol. XVI (1988), n. 2, pp. 239-250

-MONTAGU (G. & J.), Beverly Minster reconsidered, Vol. VI (1978), n. 3, pp. 401-416

-MONTANARI (G.), Bartolomeo Cristofori: a list and historical survey of his instruments, Vol. XIX (1991), n. 3, pp. 383-397

-MONTGOMERY (D.), Modern Schubert interpretation in the light of the pedagogical sources of his day, Vol. XXV (1997), n. 1, pp. 100-120

-MOODY (I.), Portuguese “mannerism”: a case for an aesthetic inquisition, Vol. XXIII (1995), n. 3, pp. 450-460

-MOORE (A.G.), Playing the serpent, Vol. III (1975), n. 1, pp. 21-24

-MOREHEN (J.), The English consort and verse anthems, Vol. VI (1978), n. 3, pp. 381-383

-MORGAN (F.), Making recorders based on historical models, Vol. X (1982), n. 1, pp. 14-22

-MORONEY (D.), The performance of unmeasured harpsichord, Vol. IV (1976), n. 2, pp. 143-152

-MORROW (M.), 16th century ensemble viol music, Vol. II (1974), n. 3, pp. 160-164

  • Musical performance and authenticity, Vol. VI (1978), n. 2, pp. 233-246
  • The renaissance harp, Vol. VII (1979), n. 4, pp. 499-510

-MORTENSEN (L.U.), « Unerringly tasteful » ?: harpsichord continuo in Corelli’s op.5 sonatas, Vol. XXIV (1996), n. 4, pp. 665-680

-MRÁČKOVÁ (L.), Behind the stage: some thoughts on the Codex Speciálník and the reception of polyphony in late 15th-century Prague, Vol. XXXVII (2009), n. 1, pp. 37-47

-MUNROW (D.), The art of courtly love, Vol. I (1973), n. 4, pp. 195-201

-MULLALLY (R.), More about the measures, Vol. XXII (1994), n. 3, pp. 417-440

-MULLER (F & J.), Completing the picture: the importance of reconstructing early opera, Vol. XXXIII (2005), n. 4, pp. 667-681

-MYERS (H.W.), Slide trumpet madness: facr or fiction?, Vol. XVII (1989), n. 3, pp. 383-385

– MYNETT (A.), On the reconstruction of a medieval tabor, Vol. I (1973), n. 4, pp. 223-228

-NEIGHBOUR (O.), Orlando Gibbons (1583-1625), Vol. XI (1983), n. 3, pp. 351-357

-NELSON (B.), Alternatim practice in 17th – century Spain: the integration of organ versets and plainchant in psalms and canticles, Vol. XXII (1994), n. 2, pp. 239-260

  • The court of don Fernando de Aragón, Duke of Calabria in Valencia, c.1526-c.1550: music, letters and the meeting of cultures, Vol. XXXII (2004), n. 2, pp. 194-223

-NELSON (C.), Tea-table miscellanies: the development of Scotland’s song culture, 1720-1800, Vol. XXVIII (2000), n. 4, pp. 596-620

-NEUMANN (F.), Dots and strokes in Mozart, Vol. XXI (1993), n. 3, pp. 429-436

  • Graham Pont’s “Pardigm of Inconsistency”, Vol. XIV (1986), n. 3, pp. 403-405
  • Once more: the “French overture style”, Vol. VII (1979), n. 1, pp. 39-45
  • The dotted note and the so-called French style, Vol. V (1977), n. 3, pp. 310-322

-NEVILE (J.), Dance in early Tudor England: an Italian connection?, Vol. XXVI (1998), n. 2, pp. 230-245

-NEVILLE (D.), Opera or oratorio? Metastasio’s sacred opere serie, Vol. XXVI (1998), n. 4, pp. 596-607

-NEWCOMB (A.), Il modo di far la fantasia, Vol. VII (1979), n. 1, pp. 34-38

-NEWES (V.), Writing, reading and memorizing: the transmission and resolution retrograde canons from the 14th and early 15th centuries, Vol. XVIII (1989), n. 2, pp. 218-234

-NEWTON (S.M.), Stage design for renaissance theatre, Vol. V (1977), n. 1, pp. 12-17

-NICHOLSON (G.), The unnatural trumpet, , Vol. XXXVIII (2010), n. 2, pp. 193-202

-NICHOLSON (L.), KITE (C.) & TAN (M.), Playing the early piano, Vol. XIII (1985), n. 1, pp. 52-58

-NIEBRZYDOWSKI (S.), Asperges me, Domine, hyssopo: male voices, female interpretation and the medieval English purification of women after childbirth ceremony, Vol. XXXIX (2011), n. 3, pp. 327-334

-NIWA (S.), “Madama” Margaret of Parma’s patronage of music, Vol. XXXIII (2005), n. 1, pp. 25-38

-NIXON (P.), Keyboard instruments in Dublin, c.1560-1860: “A much neglected section of irish musical history…”, Vol. XXVIII (2000), n. 2, pp. 253-269

-NOBLE (J.), Early dance music: performing early music on record 5, Vol. IV (1976), n. 4, pp. 455-514

-NOONE (M.), A census of monk musicians at El Escorial during the reigns of Philip II and Philip III, Vol. XXII (1994), n. 2, pp. 221-238

  • Toledo cathedral’s lost “magnifique livre de messes” recovered, and “new” works by Boluda, Palomares and Navarro, Vol. XXXIV (2006), n. 4, pp. 561-586

-NORDENFELT-ÅBERG (E.), The harpsichord in 18th-century Sweden, Vol. IX (1981), n. 1, pp. 47-54

-NORDSTROM (L.), Albert de Rippe, Joueur de luth du Roy, Vol. VII (1979), n. 3, pp. 378-385

-NORRINGTON (R.), The sound orchestras make, Vol. XXXII (2004), n. 1, pp. 2-6

-NORRIS (J.), How to get the best from direct-blown double reeds, Vol. X (1982), n. 2, pp. 201-207

-O’BRIAN (G.G.), Ioannes and Andreas Ruckers – The hallmarks of a great dynasty of makers, Vol. VII (1979), n. 4, pp. 453-466

-O’DONNELL (J.), Bach’s temperament, Occam’s razor, and the Neidhardt factor, Vol. XXXIV (2006), n. 4, pp. 625-633

  • The French style and the overtures of Bach 1, Vol. VII (1979), n. 2, pp. 190-196
  • The French style and the overtures of Bach 2, Vol. VII (1979), n. 3, pp. 336-345

-O’LOUGHLIN (N.), The recorder in 20th-century music, Vol. X (1982), n. 1, p. 36

O’REGAN (N.), Marenzio’s sacred music: the Roman context, Vol. XXVII (1999), n. 4, pp. 608-621

  • Palestrina, a musician and composer in the market-place, Vol. XXII (1994), n. 4, pp. 551-573
  • The performance of Palestrina: some further observations, Vol. XXIV (1996), n. 1, pp. 144-156
  • Tomás Luis de Victoria’s Roman churches revisited, Vol. XXVIII (2000), n. 3, pp. 403-420
  • Victoria, Soto and the Spanish Archconfraternity of the Resurrection in Rome, Vol. XXII (1994), n. 2, pp. 279-295

-OLESKIEVICZ (M.), The hole truth and nothing but the truth : the resolution of a problem in flute iconography, Vol. XXIX  (2001), n. 1, pp. 56-59

-OLMOS (Á.M.), New polyphonic fragments from 15th-century music, Vol. XXXII (2004), n. 2, pp. 225-243

-ONGARO (G.M.), 16th-century Venetian wind instrument makers and their clients, Vol. XIII (1985), n. 3, pp. 391-397

  • New documents on the Bassano family, Vol. XX (1992), n. 3, pp. 409-416

-ONGLEY (L.H.), The reconstruction of an 18th-century basso group, Vol. XXVII (1999), n. 2, pp. 269-282

-ORNOY (E.), Between theory and practice: comparative study of early music performances, Vol. XXXIV (2006), n. 2, pp. 233-248

-OWENS (J.A.), An Italian oboist in Germany: double reed making c.1750, Vol. XXVIII (2000), n. 1, pp. 65-72

  • Marenzio and Wert read Tasso: a study in contrasting aesthetics, Vol. XXVII (1999), n. 4, pp. 555-574

-PACHECO (C.D.), Beyond church and court: city musicians and music in Renaissance Valladolid, Vol. XXXVII (2009), n. 3, pp. 367-378

-PAGE (C.), An English motet of the 14th century in performance: two contemporary images, Vol. XXV (1997), n.1, pp. 7-34

  • Angelus ad virginem, Vol. XI (1983), n. 1, pp. 69-70
  • A reply to Margaret Bent, Vol. XXII (1994), n. 1, pp. 127-134
  • Around the performance of a 13th-century motet, Vol. XXVIII (2000), n. 3, pp. 343-358
  • Biblical instruments in medieval manuscripts, Vol. V (1977), n. 3, pp. 299-309
  • Early 15th-century instruments in Jean de Gerson’s “Tractatus de Canticis”, Vol. VI (1978), n. 3, pp. 339-349
  • French lute tablature in the 14th century?, Vol. VIII (1980), n. 4, pp. 488-492
  • German musicians and their instruments, Vol. X (1982), n. 2, pp. 192-200
  • Going beyond the limits: experiments with vocalization in the French chanson, 1340 – 1440, Vol. XX (1992), n. 446-459
  • Machaut’s “Pupil” Deschamps on the Performance of Music: voices or instruments in the 14th-century chanson?, Vol. V (1977), n. 4, pp. 484-491
  • Medieval fiddle construction, Vol. II (1974), n. 3, pp. 166-168
  • The 15th century lute: new and neglected sources, Vol. IX (1981), n. 1, pp. 11-21
  • The earliest English keyboard, Vol. VII (1979), n. 3, pp. 308-314
  • The English a cappella renaissance, Vol. XXI (1993), n. 3, pp. 452-471
  • The myth of the chekker, Vol. VII (1979), n. 4, pp. 482-489
  • The performance of Ars Antiqua motets, Vol. XVI (1988), n. 2, pp. 147-164
  • The performance of songs in late medieval France, Vol. X (1982), n. 4, pp. 441-451

-PAGE (J.K.), “A lovely and perfect music”: Maria Anna von Raschenau and music at the Viennese convent of St Jakob auf der Hülben, Vol. XXXVIII (2010), n. 3, pp. 403-422

  • Music and the royal procession in Maria Theresia’s Vienna, Vol. XXVII (1999), n. 1, pp. 96-120
  • The hautboy in London’s musical life, 1730-1770, Vol. XVI (1988), n. 3, pp. 358-370
  • “To soften the sound of the hoboy”: the muted oboe in the 18th and early 19th centuries, Vol. XXI (1993), n. 1, pp. 65-82

-PALLIS (M.), The rebirth of early music, Vol. VI (1978), n. 1, pp. 41-44

-PALMER (F.), Musical instruments from the Mary Rose, Vol. XI (1983), n. 1, pp. 53-60

-PARKER (I.), The performance of troubadour and trouvère songs: some facts and conjectures, Vol. V (1977), n. 2, pp. 185-208

-PARKINS (R.), Keyboard fingering in early Spanish sources, Vol. XI (1983), n. 3, pp. 323-331

-PARKINSON (A.), Guesswork and gemshorn, Vol. IX (1981), n. 1, pp. 43-46

-PARROTT (A.), Bach’s chorus: a “brief yet highly necessary” reappraisal, Vol. XXIV (1996), n. 4, pp. 551-582

  • Bach’s chorus: the Leipzig line. A response to Andreas Glöckner, Vol. XXXVIII (2010), n. 2, pp. 223-236
  • Bach’s chorus: beyond reasonable doubt, Vol. XXVI (1998), n. 4, pp. 636-660
  • Bach’s chorus: who cares?, Vol. XXV (1997), n. 2, pp. 297-301
  • Grett and solompne singing, Vol. VI (1978), n. 2, pp. 182-187
  • Monteverdi: onwards and downwards, Vol. XXXII (2004), n. 2, pp. 303-318
  • Performing Machaut’s Mass on Record, Vol. V (1977), n. 4, pp. 492-494
  • S. Bach’s Trauer-Music for Prince Leopold: clarification and reconstruction, Vol. XXXIX (2011), n. 4, pp. 587-596
  • Transposition in Monteverdi’s Vespers of 1610, Vol. XII (1984), n. 4, pp. 490-516

-PAY (A.), Phrasing in contention, Vol. XXIV (1996), n. 2, pp. 290-322

-PAYNE (I.), The sacred music of Thomas Ravenscroft, Vol. X (1982), n. 3, pp. 309-316

-PESTELL (R.), Medieval art and the performance of Medieval music, Vol. XV (1987), n. 1, pp. 57-70

-PETERS (G.), Urban musical culture in late medieval southern France: evidence from private notarial contracts, Vol. XXV (1997), n. 3, pp. 403-411

-PETERSEN (G.D.), Bridge location on the early Italian violin, Vol. XXXV (2007), n. 1, pp. 49-65

-PETRE (R.), A new piece by Henry Purcell, Vol. VI (1978), n. 3, pp. 374-379

  • Six new dances by Kellom Tomlinson: a recently discovered manuscript, Vol. XVIII (1990), n. 3, pp. 381-392

-PHILIP (R.), The recordings of Edward Elgar (1857-1934), Vol. XII (1984), n. 4, pp. 481-489

-PHILLIPS (P.), A commentary on Avery Burton’s Mass on the Hexachord, Vol. VII (1979), n. 2, pp. 218-222

  • Performance practice in 16th-century English choral music, Vol. VI (1978), n. 2, pp. 195-198
  • Reconsidering Palestrina, Vol. XXII (1994), n. 4, pp. 574-586
  • The golden age regained, Vol. VIII (1980), n. 1, pp. 3-16
  • The golden age regained 2, Vol. VIII (1980), n. 2, pp. 178-198
  • Treble or soprano? Performing Tallis, Vol. XXXIII (2005), n. 3, pp. 495-502

-PIERCE (K.), Dance notation system in late 17th-century France, Vol. XXVI (1998), n. 2, pp. 286-299

-PIETSCHMANN (K.), A Renaissance composer writes to his patrons: newly discovered letters from Cristóbal de Morales to Cosimo I de’ Medici and Cardinal Alessandro Farnese, Vol. XXVIII (2000), n. 3, pp. 383-402

-PINK (A.), A music club for freemasons: Philo-musicae et-architecturae societas Apollini, London, 1725-1727, Vol. XXXVIII (2010), n. 4, pp. 523-536

-PINNELL (R.T.), The theorboed guitar, Vol. VII (1979), n. 3, pp. 323-329

-PINNOCK (A.), Fairest Isle™ – land of the scholar-kings, Vol. XXIII (1995), n. 4, pp. 651-665

-PINNOCK (T.), Buying a harpsichord 1, Vol. III (1975), n. 2, pp. 126-131

  • Buying a harpsichord 2, Vol. III (1975), n. 3, p. 365

-PINNOCK (T.) & WOOD (B.), A counterblast on English trumpets, Vol. XIX (1991), n. 3, pp. 436-442

  • Come, ye sons of art – again: court cross-subsidy for Purcell’s opera orchestra, 1690-1695, Vol. XXXVII (2009), n. 3, pp. 445-466

-PINTO (D.), William Lawes’ music for viol consort, Vol. VI (1978), n. 1, pp. 12-24

-PLANCHART (A.E.), Du Fay and the style of Molinet, Vol. XXXVII (2009), n. 1, pp. 61-71

  • Out of the shadows: Binchois ascendant, Vol. XXX (2002), n. 1, pp. 104-118
  • What’s in a name? Refòections on some works of Guillaume Dufay, Vol. XVI (1988), n. 2, pp. 165-175

-PLANK (S.E.), “And Now About the Cauldron Sing”: music and the supernatural on the Restoration stage, Vol. XVIII (1990), n. 3, pp. 393-407

-PLATOFF (J.), How original was Mozart? Evidence from opera buffa, Vol. XX (1992), n. 1, pp. 105-118

-PLATT (R.), New light on Richard Musge, 1718-63: some aspects of social status and amateur music-making, Vol. XXVIII (2000), n. 4, pp. 531-545

-PLEASANTS (V.), The early piano in Britain (c1760-1800), Vol. XIII (1985), n. 1, pp. 39-44

-POLK (K.), The trombone, the slide trumpet and the ensemble tradition of the early Renaissance, Vol. XVII (1989), n. 3, pp. 386-396

  • Voices and instruments; soloists and ensembles in the 15th century, Vol. XVIII (1990), n. 2, pp. 179-198

-POLLENS (S.), The early Portuguese piano, Vol. XIII (1985), n. 1, pp. 18-27

-POND (C.), Ornamental style and the virtuoso: solo bass viol music in France c 1680-1740, Vol. VI (1978), n. 4, pp. 512-518

-PONT (G.), A third alternative, Vol. XIV (1986), n. 3, pp. 409-412

  • French overtures at the keyboard: the Handel tradition, Vol. XXXV (2007), n. 2, pp. 271-287
  • Handel’s overtures for harpsichord or organ, Vol. XI (1983), n. 3, pp. 309-322
  • Handel and regularization: a third alternative, Vol. XIII (1985), n. 4, pp. 500-505

-POOLE (E.), Jacques-François Rosart: a neglected pioneer of music printing, Vol. V (1977), n. 3, pp. 352-363

-PORTER (A.), Mozart on the modern stage, Vol. XX (1992), n. 1 ,p. 133-138

-POTTER (J.), The tenor-castrato connection, 1760-1860, Vol. XXXV (2007), n. 1, pp. 97-112

-POULTON (D.), Checklist of recently discovered English lute MSS, Vol. III (1975), n. 2, p. 125

  • Graces of play in renaissance lute music, Vol. III (1975), n. 2, pp. 107-113
  • The black-letter broadside ballad and its music, Vol. IX (1981), n. 4, pp. 427-437

-POWELL (A.) & LASOCKI (D.), Bach and the flute: the players, the instruments, the music, Vol. XXIII (1995), n. 1, pp. 9-30

-POWELL (J.S.), Music and the self-fulfilling prophecy in Molière’s Le mariage force, Vol. XXI (1993), n. 2, pp. 213-230

-PRICE (C.), Dido and Aeneas: questions of style and evidence, Vol. XXII (1994), n. 1, pp. 115-126

  • Early music : listening practice  and living museum, Vol. XXV (1997), n. 4, p. 559
  • Free ornamentation in the solo sonatas of William Babell: defining a personal style of improvised embellishment, Vol. XXIX (2001), n. 1, pp. 29-55
  • Purcell’s theatre music on record, Vol. XII (1984), n.1, pp. 85-92
  • Restoration stage fiddlers and their music, Vol. VII (1979), n. 3, pp. 315-322

-PRICE (C.) & RASMUSSEN (W.M.S.), Musical images in a portrait of Teresa Blount, Vol. XXIV (1996), n. 1, pp. 64-77

-PRINGLE (J.), John Rose, the founder of English viol-making, Vol. VI (1978), n. 4, pp. 501-511

-PRIZER (W.), Performance practices in the frottola, Vol. III (1975), n. 3, pp. 227-235

-PRUITT (W.), A 17th-century French manuscript on organ performance, Vol. XIV (1986), n. 2, pp. 237-252

-PRYER (A.), Monteverdi, two sonnets and a letter, Vol. XXV (1997), n. 3, pp. 357-372

-PUGLISI (F.), Signor Settala’s “armonia di flauti”, Vol. IX (1981), n. 3, pp. 320-322

-RAESSLER (D.M.), Türk, touch and slurring: finding a rationale, Vol. XVII (1989), n. 1, pp. 55-59

-RANGE (M.), The 1685 coronation anthem I was glad, Vol. XXXVI (2008), n. 3, pp. 397-408

-RANSOME (A.), Towards an authentic vocal style and technique in late baroque performance, Vol. VI (1978), n. 3, pp. 417-420

-RANUM (P.), A sweet servitude, Vol. XV (1987), n. 3, pp. 347-360

  • Audible rhetoric and mute rhetoric: the 17th-century French sarabande, Vol. XIV (1986), n. 1, pp. 22-40

-RASMUSSEN (M.), The case of the flutes in Holbein’s The ambassadors, Vol. XXIII (1995), n. 1, pp. 114-123

  • Viols, violists and Venus in Grünewald’s Isenheim Altar, Vol. XXIX (2001), n. 1, pp. 60-75

-RASMUSSEN (M.) & VON HUENE (F.), Some recorders in 17th-century Dutch paintings, Vol. X (1982), n. 1, pp. 30-35

-RASTALL (R.), Spatial effects in English instrumental consort music, c.1560-1605, Vol. XXV (1997), n. 2, pp. 268-290

-RATNER (L.G.), Topical content in Mozart’s keyboard sonatas, Vol. XIX (1991), n. 4, pp. 615-619

-RAVENS (S.), “A sweet shrill voice”: the countertenor and vocal scoring in Tudor England, Vol. XXVI (1998), n. 1, pp. 122-136

-RAWSON (R.), Gottfried Finger’s Christmas pastorellas, Vol. XXXIII (2005), n. 3, pp. 591-608

-RAZZI (F.), Polyphony of the seconda prattica, Vol. VIII (1980), n. 3, pp. 298-311

-REES (O.), Newly identified holograph manuscripts from late-Renaissance Portugal, Vol. XXII (1994), n. 2, pp. 261-278

  • Recording of Iberian music – a survey, Vol. XX (1992), n. 4, pp. 655-658
  • Roman polyphony at Tarazona, Vol. XXIII (1995), n. 3, pp. 410-420

-REILLY (E.R.), Quantz and the transverse flute: some aspects of his practice and thought regarding the instrument, Vol. XXV (1997), n. 3, pp. 428-440

-REMNANT (M.), The diversity of medieval fiddles, Vol. III (1975), n. 1, pp. 47-52

-RENZ (F.), Producing Le Roman de Fauvel, Vol. V (1977), n. 1, pp. 24-26

-RESERVATA (M.), MICHAEL MORROW, Musical Director, talks to J.M. THOMSON on his ensemble’s on his ensemble’s origins and aims, Vol. IV (1976), n. 4, p. 515-520

-RICE (A.), The baroque clarinet in public concerts, 1726-1762, Vol. XVI (1988), n. 3, pp. 388-394

  • The clarinet in England during the 1760s, Vol. XXXIII (2005), n. 1, pp. 55-64

-RICE (A.R.) & LAWSON (C.), The clarinet and chalumeau revisited, Vol. XIV (1986), n. 4, pp. 552-556

-RICE (J.A.), The Tuscan piano in the 1780s: some builders, composers and performers, Vol. XXI (1993), n. 1, pp. 4-27

-RICE (S.), Reconstructing Tallis’s Latin Magnificat and Nunc dimittis, Vol. XXXIII (2005), n. 4, pp. 647-657

-RIDGEWELL (R.), Artaria’s music shop and Boccherini’s music in Viennese musical life, Vol. XXXIII (2005), n. 2, pp. 179-190

-RIFKIN (J.), Bach’s chorus: against the wall, Vol. XXXVIII (2010), n. 3, pp. 437-441

  • Bach’s Orchestre, Vol. XIV (1986), n. 4, pp. 566-568
  • Bassoons, violins and voices: a response to Ton Koopman, Vol. XXV (1997), n. 2, pp. 302-307
  • From Weimar to Leipzig: concertists and ripienists in Bach’s Ich hatte viel Bekümmernis, Vol. XXIV (1996), n. 4, pp. 583-603
  • Page turns, players and ripieno parts: more questions of scoring in Bach’s vocal music, Vol. XXV (1997), n. 4, pp. 728-734
  • The Bach Compendium, Vol. XVII (1989), n. 1, pp. 79-88

-RIMMER (J.), Dance and dance music in the Netherlands in the 18th century, Vol. XIV (1986), n. 2, pp. 209-220

  • Patronage, style and structure in the music attributed to Turlough Carolan, Vol. XV (1987), n. 2, pp. 164-174

-RINCÓN (S.A.), The formation of an exceptional library: early printed music books at Valladolid Cathedral, Vol. XXXVII (2009), n. 3, pp. 379-400

-RINK (J.), Chopin as early music, Vol. XXIX  (2001), n. 3, pp. 339-341

  • The line of argument in Chopin’s E minor Prelude, Vol. XXIX (2001), n. 3, pp. 434-446

-ROBERTSON (D.), Anyone for the galliard?, Vol. II (1974), n. 2, pp. 83-85

-ROBINS (B.), The catch club in 18th-century England, Vol. XXVIII (2000), n. 4, pp. 517-530

-ROBINSON (L.), Forqueray Pieces de Viole (Paris, 1747): an enigma of authorship between father and son, Vol. XXXIV (2006), n. 2, pp. 259-275

-ROBLEDO (L.), Questions of performance practice in Philip III’s chapel, Vol. XXII (1994), n. 2, pp. 198-220

  • The enigmatic canons of Juan del Vado (c1625-1691), Vol. XV (1987), n. 4, pp. 514-519

-ROCHE (E.), “Great learning, fine scholarship, impeccable taste”, Vol. XVI (1988), n. 2, pp. 231-238

  • Handel’s Appoggiaturas: a tradition destroyed, Vol. XIII (1985), n. 3, pp. 408-412

-ROCHE (J.), Rovetta and Tunder, Vol. III (1975), n. 1, pp. 58-60

  • “The praise of it endureth for ever”: the posthumous publication of Palestrina’s music, Vol. XXII (1994), n. 4, pp. 631-640

-RODIN (J.), A Josquin substitution, Vol. XXXIV (2006), n. 2, pp. 249-258

-ROESNER (E.), The performance of Parisian organum , Vol. VII (1979), n. 2, pp. 174-189

-ROIG-FRANCOLÍ (M.A.), Playing in consonances: a Spanish Renaissance technique of chordal improvisation, Vol. XXIII (1995), n. 3, pp. 461-470

-ROOLEY (A.), Dance music of the 16th century, Vol. II (1974), n. 2, pp. 79-83

  • John Dowland and English lute music, Vol. III (1975), n. 2, pp. 115-118
  • New light on John Dowland’s songs of darkness, Vol. XI (1983), n. 1, pp. 6-21
  • Time stands still: devices and designs, allegory and alliteration, poetry and music, a new identification in an old portrait, Vol. XXXIV (2006), n. 3, pp. 443-464

-ROS-FÁBREGAS (E.), Music and ceremony during Charles V’s 1519 visit to Barcelona, Vol. XXIII (1995), n. 3, pp. 374-392

-ROSE (A.), A newly discovered source of vocal chamber music by Elisabeth-Claude Jacquet de la Guerre and René Drouard de Bousset, Vol. XXXVI (2008), n. 2, pp. 245-264

  • Angel musicians in the medieval stained glaass of Norfolk churches, Vol. XXIX (2001), n. 2, pp. 186-217
  • Elizabeth Claude Jacquet de la Guerre and the secular, Vol. XIII (1985), n. 4, pp. 529-541

-ROSE (M.), The history and significance of the Lodewijk Theewes claviorgan, Vol. XXXII (2004), n. 4, pp. 577-593

-ROSE (S.), Daniel Vetter and the domestic keyboard chorale in Bach’s Leipzig, Vol. XXXIII (2005), n. 1, pp. 39-54

  • Heinrich Albert’s Arien in print and performance, Vol. XXIX (2001), n. 4, pp. 588-606
  • Performances and popular culture in the German Reformation, Vol. XXXIII (2005), n. 2, pp. 295-303

-ROSENBLUM (S.P.), Two sets of unexplored metronome marks for Beethoven’s piano sonatas, Vol. XVI (1988), n. 1, pp. 58-71

-ROSOW (L.), French Baroque recitative as an expression of tragic declamation, Vol. XI (1983), n. 4, pp. 468-479

  • Making connections: some thoughts on Lully’s entr’actes, Vol. XXI (1993), n. 2, pp. 231-239
  • Performing a choral dialogue by Lully, Vol. XV (1987), n. 3, pp. 325-335

-ROUTLEY (N.), A practical guide to musica ficta, Vol. XIII (1985), n. 1, pp. 59-72

-ROWLAND (D.), Early pianoforte pedalling, Vol. XIII (1985), n. 1, pp. 5-17

  • Piano music and keyboard compass in the 1790s, Vol. XXVII (1999), n. 2, pp. 283-293

-ROWLAND-JONES (A.), Iconography in the history of the recorder up to c.1430 – Part I, Vol. XXXIII (2005), n. 4, pp. 557-574

  • Iconography in the history of the recorder up to c.1430 – Part II, Vol. XXXIV (2006), n. 1, pp. 3-27
  • Lully’s use of recorder symbolism, Vol. XXXVII (2009), n. 2, pp. 217-250
  • The minuet: painter-musicians in triple time, Vol. XXVI (1998), n. 3, pp. 415-431

-RUTLEDGE (J.), How did the viola da gamba sound?, Vol. VII (1979), n. 1, pp. 59-69

  • Late 19th-century viol revivals, Vol. XIX (1991), n. 3, pp. 409-418
  • Towards a history of the viol in the 19th century, Vol. XII (1984), n. 3, pp. 328-336

-RŮŽIČOVÁ (Z.), The manner of interpretation, Vol. VIII (1980), n. 2, pp. 170-171

-SACHS (B.), Scarlatti’s tremulo, Vol. XIX (1991), n. 1, pp. 91-94

-SADIE (J.A.), Charpentier and the early French ensemble sonata, Vol. VII (1979), n. 3, pp. 330-335

-SADLER (G.), A philosophy lesson with François Couperin? Notes on a newly discovered canon, Vol. XXXII (2004), n. 4, pp. 541-548

  • Rameau’s harpsichord transcription, Vol. VII (1979), n. 1, pp. 18-24
  • Rameau’s singers and players at the Paris Opéra, Vol. XI (1983), n. 4, p. 453
  • The role of the keyboard continuo in French opera 1673-1776, Vol. VIII (1980), n. 2, pp. 148-157
  • Vincent d’Indy and the Rameau Oevres completes: a case of forgery?, Vol. XXI (1993), n. 3, pp. 415-422

-SAGE (J.), A new look at humanism in 16th – century lute and vihuela books, Vol. XX (1992), n. 4, pp. 633-641

-SAMSON (J.), Chopin, past and present, Vol. XXIX  (2001), n. 3, pp. 381-387

-SANDMAN (S.G.), The wind band at Louis XIV’s court, Vol. V (1977), n. 1, pp. 27-37

-SANDON (N.), Another mass by Hugh Aston?, Vol. IX (1981), n. 2, pp. 184

  • F G A B flat A, Vol. XII (1984), n. 1, pp. 56-63
  • Mary, meditations, monks and music. Poetry, prose, processions and pagues in a Durham Cathedral manuscript, Vol. X (1982), n. 1, pp. 43-54

-SETLAK-GARRISON (H.), Reinterpreting the Capital of the Fourth Tone at St Lazare, Autun, Vol. XV (1987), n. 3, pp. 365-377

-SAVAGE (R.), A dynastic marriage celebrated, Vol. XXVI (1998), n. 4, pp. 632-635

  • Producing Dido and Aeneas: an investigation into sixteen problems with a newly-composed finale to the Grove scene mìby MICHAEL TLMOUTH, Vol. IV (1976), n. 4, pp. 393-405
  • Prologue: Daphne transformed, Vol. XVII (1989), n. 4, pp. 485-494
  • Rameau’s American dancers, Vol. XI (1983), n. 4, pp. 441-452
  • Rameau at Covent Garden, Vol. V (1977), n. 4, pp. 499-502
  • Staging an opera: letters from the Cesarian poet, Vol. XXVI (1998), n. 4, p. 583
  • The Shakespeare/Purcell Fairy Queen, Vol. I (1973), n. 4, pp. 201-222
  • With NICHOLAS ANDERSON on Rameau in the ascendant, Vol. V (1977), n. 4, pp. 503-506
  • A radio spetacle – The Florentine Intermedi of 1859, Vol. VII (1980), n.1, p. 85

-SAVAGE (R.) & SANSONE (M.), Il corago and the staging of early opera: four chapters from an anonymous treatise circa 1630, Vol. XVII (1989), n. 4, pp. 495-514

-SAVALL (J.), Performing early Spanish music, Vol. XX (1992), n. 4, pp. 649-654

-SAWKINS (L.), Document and légèrment: tempo in French Baroque music, Vol. XXI (1993), n. 3, pp. 365-376

  • Exotic nectar transformed: the grands motets of Lalande’s maturity, Vol. XXXV (2007), n. 4, pp. 555-574
  • For and against the order of nature, Vol. XV (1987), n. 3, pp. 315-324
  • New sources for Rameau’s Pigmalion and other works, Vol. XI (1983), n. 4, pp. 490-496

-SAYCE (L.), Continuo lutes in 17th and 18th-century England, Vol. XXIII (1995), n. 4, pp. 666-684

-SAYERS (K.J.), The Roessler recorder, Vol. III (1975), n. 1, pp. 19-20

-SCHAB (A.), Distress’d Sources? A critical consideration of the authority of Purcell’s Ayres for the theatre, Vol. XXXVII (2009), n. 4, pp. 633-645

-SCHACHTER (C.), 20th – century analysis and Mozart performance, Vol. XIX (1991), n. 4, pp. 620-628

-SCHEPHARD (T.), Voice, decorum and reductio in Florigerio’s Music Lesson, Vol. XXXVIII (2010), n. 3, p. 361

-SCHOTT (H.), Bruges harpsichord week 1974, Vol. III (1975), n. 1, pp. 53-57

  • Bruges harpsichord week 1977, Vol. V (1977), n. 4, pp. 545-552
  • Early music for the harpsichord 1, Vol. IV (1976), n. 1, pp. 27-30
  • Early music for the harpsichord 2: 17th-century Italy, France, England and Germany, Vol. IV (1976), n. 3, pp. 281-283
  • Early music yesterday, today and tomorrow, Vol. XXV (1997), n. 4, pp. 557-558
  • From harpsichord to pianoforte, Vol. XIII (1985), n. 1, pp. 28-38
  • Interpreting style, Vol. VII (1979), n. 1, pp. 70-78
  • Luthies: David Rubio and Michael Lowe, Vol. III (1975), n. 3, pp. 355-357
  • Paris revisited, Vol. VII (1979), n. 1, pp. 103-110
  • The 16th century in England, the Netherlands, France, Germany, Poland, Iberia and Italy: harpsichord music, Vol. V (1977), n. 1, pp. 67-74
  • The Adlam-Burnett workshop visited, Vol. V (1977), n. 3, pp. 371-379
  • The clavichord revival, 1800 – 1960, Vol. XXXII (2004), n. 4, pp. 595-604
  • The harpsichord revival, Vol. II (1974), n. 2, pp. 85-96
  • Wanda Landowska – An outstanding keyboard pioneer and her legacy, Vol. VII (1979), n. 4, pp. 467-471
  • Vitality displayed, Vol. VIII (1980), n. 1, pp. 87-90

-SCHRÖDER (J.) & HOGWOOD (C.), The developing violin, Vol. VII (1979), n. 2, pp. 155-165

-SCHULENBERG (D.), Performing C.P.E. Bach: some open questions, Vol. XVI (1988), n. 4, pp. 542-552

-SCHULZE (H.J.), Johann Sebastian Bach’s orchestra: some unanswered questions, Vol. XVII (1989), n. 1, pp. 3-16

  • The French influence in Bach’s instrumental music, Vol. XIII (1985), n. 2, pp. 180-184

-SCHWAGER (M.), Public opera and the trials of the Teatro San Moisè, Vol. XIV (1986), n. 3, pp. 387-396

-SCHWARTZ (J.L.), The passacaille in Lully’s Armide: phrase structure in the choreography and the music, Vol. XXVI (1998), n. 2, pp. 300-321

-SCHWEITZER (C.), Madame Ravissa de Turin: a forgotten woman composero f the 18th century, Vol. XXXII (2004), n. 3, pp. 428-440

-SCOTT (M.G.), Boccherini’s B flat Cello Concerto, Vol. XII (1984), n. 3, pp. 355-357

-SEARES (M.), The composer and the subscriber: a case study from the 18th century, Vol. XXXIX (2011), n. 1, pp. 65-78

-SEARLE (A.), Haydn autographs and “authentic” manuscript copies in the British Library, Vol. X (1982), n. 4, p. 495

  • Pleyel’s “London” symphonies, Vol. XXXVI (2008), n. 2, pp. 231-244

-SEGERMAN (E.), A re-examination of the evidence on absolute tempo before 1700 – I, Vol. XXIV (1996), n. 2, pp. 227-249

  • A re-examination of the evidence on absolute tempo before 1700 – II, Vol. XXIV (1996), n. 4, pp. 681-690

-SELETSKY (R.E.), 18th-century variations for Corelli’s Sonatas, op.5, Vol. XXIV (1996), n. 1, pp. 119-132

  • New light on the old bow – 1, Vol. XXXII (2004), n. 2, pp. 286-302
  • New light on the old bow – 2, Vol. XXXII (2004), n. 3, pp. 415-426

-SELFRIDGE-FIELD (E.), Bassano and the orchestra of St Mark’s, Vol. IV (1976), n. 2, pp. 153-157

  • Instrumentation and genre in Italian music, 1600-1670, Vol. XIX (1991), n. 1, pp. 61-68
  • Italian oratorio and the Baroque Orchestra, Vol. XVI (1988), n. 4, pp. 506-513
  • Music at the Pietà before Vivaldi, Vol. XIV (1986), n. 3, pp. 373-386
  • The invention of the fortepiano as intellectual history, Vol. XXXIII (2005), n. 1, pp. 81-94
  • Vivaldi’s esoteric instruments, Vol. VI (1978), n. 3, pp. 332-338

-SHARPE (R.), Words and music by Goscelin of Canterbury, Vol. XIX (1991), n. 95, pp. 95-97

-SHAY (R.), Purcell’s revisions to the funeral sentences revisited, Vol. XXVI (1998), n. 3, pp. 457-468

-SHERMAN (B.D.), Bach’s notation of tempo and early music performance: some reconsideration, Vol. XXVIII (2000), n. 3, pp. 454-468

  • Tempos and proportions in Brahms: period evidence, Vol. XXV (1997), n. 3, pp. 462-478

-SHEPHARD (T.), Voice, decorum and seduction in Florigerio’s Music Lesson, Vol. XXXVIII (2010), n. 3, pp. 361-368

-SHERR (R.), Competence and incompetence in the papal choir in the age of Palestrina, Vol. XXII (1994), n. 4, pp. 606-630

  • A letter from Paolo Animuccia, Vol. XII (1984), n. 1, pp. 74-78
  • The Medici coat of arms in a motet for Leo X, Vol. XV (1987), n. 1, pp. 31-35
  • Josquin’s Missa Pange Lingua: a note on Agnus Dei III, Vol. XVIII (1989), n. 2, pp. 271-276
  • Performance practice in the Papal Chapel in the 16th century, Vol. XV (1987), n. 4, pp. 453-462
  • The performance of Josquin’s L’homme armé Masses, Vol. XIX (1991), n. 2, pp. 261-268
  • The “Spanish nation” in the papal chapel, 1492 – 1521, Vol. XX (1992), n. 4, pp. 601-610
  • Thoughts on Ockeghem’s Missa De plus en plus: anxiety and proportion in the late 15th century, XXXVIII (2010), n. 3, pp. 335-346

-SIMPSON (G.) & MASON (B.), The 16th-century Spanish Romance: a survey of the Spanish Ballad as found in the music of the vihuelistas, Vol. V (1977), n. 1, pp. 51-57

-SKINNER (D.), “At the mynde of Nycholas Ludford”: new light on Ludford from the churchwardens” accounts of St Margaret’s, Westminster, Vol. XXII (1994), n. 3, pp. 393-416

  • Discovering the provenance and history of the Caius and Lambeth choirbooks, Vol. XXV (1997), n. 2, pp. 245-267

-SLAVIN (D.), In support of “heresy”: manuscript evidence for the a cappella performance of early 15th-century songs, Vol. XIX (1991), n. 2, pp. 178-192

-SLIM (H. C.), A Royal Treasure at Sutton Coldfield: with Verdelot’s “La bella donna”, Vol. VI (1978), n. 1, pp. 57-74

  • Giovanni Girolamo Savoldo’s Portrait of a Man with a Recorder, Vol. XIII (1985), n. 3, pp. 398-406
  • Mary Magdalene, musician and dancer, Vol. VIII (1980), n. 4, pp. 460-471

-SLOANE (C.), A fresh look at Domenico Scarlatti’s Essercizi per gravicembalo, and the “tremulo di sopra”, Vol. XXXV (2007), n. 4, pp. 605-608

-SMITH (D.A.), Sylvius Leopold Weiss, Vol. VIII (1980), n. 1, pp. 47-58

  • The Ebenthal lute and viol tablatures, Vol. X (1982), n. 4, pp. 462-467

-SMITH (J.), Recordings: quarterly check list I, Vol. I (1973), n. 1, pp. 41-44

  • “Unlawful song”: Byrd, the Babington plot and the Paget choir, Vol. XXXVIII (2010), n. 4, pp. 497-508

-SMITH (J.) & GATISS (I.), What did Prince Henry do with his feet on Sunday 19 August 1604?, Vol. XIV (1986), n. 2, pp. 199-208

-SMITH (R.), Early music’s dramatic significance in Handel’s Saul, Vol. XXXV (2007), n. 2, pp. 173-190

-SMITHER (H.E.), Messiah and Progress in Victorian England, Vol. XIII (1985), n. 3, pp. 339-348

-SMITHERS (D.L.), Mozart’s orchestral brass, Vol. XX (1992), n. 2, pp. 254-266

  • The baroque trumpet after 1721: some preliminary observation, Vol. V (1977), n. 2, pp. 177-184
  • The baroque trumpet after 1721: some preliminary observation 2, Vol. VI (1978), n. 3, pp. 356-361

-SÖDERSTRÖM (E.), A life of Mozart singing, Vol. XX (1992), n. 1, pp. 139-140

-SOLOMON (N.), Signs of the times: a look at late 18th-century gesturing, Vol. XVII (1989), n. 4, pp. 551-564

-SOMFAI (L.), Mozart’s first thoughts: the two versions of Mozart’s Sonata in D major, K284, Vol. XIX (1991), n. 4, pp. 601-614

-SPARTI (B.), The 15th-century balli tunes: a new look, Vol. XIV (1986), n. 3, pp. 346-357

-SPECK (C.), Boccherini as cellist and his music for cello, Vol. XXXIII (2005), n. 2, pp. 191-209

-SPENCER (K.M.) & BROWN (H.M.), How Alfonso della Viola tuned his viols, and how he transposed, Vol. XIV (1986), n. 4, pp. 520-533

-SPENCER (R.), Chitarrone, theorbo and archlute, Vol. IV (1976), n. 4, pp. 407-422

  • How to hold a lute, Vol. III (1975), n. 3, p. 353
  • The Chitarrone francese, Vol. IV (1976), n. 2, pp. 165-166
  • Three English lute manuscripts, Vol. III (1975), n. 2, pp. 119-124

-SPENCER (R.) & ROOLEY (A.), The lutenists’ view, Vol. VII (1979), n. 2, p. 223

-SPINK (I.), Haydn at St Paul’s – 1791 or 1792?, Vol. XXXIII (2005), n. 2, pp. 273-281

-SPITZER (J.), Improvized ornamentation in a Handel aria with obbligato wind accompaniment, Vol. XVI (1988), n. 4, p. 514

  • The birth of the orchestra in Rome-an iconographic study, XIX (1991), n. 1, pp. 9-28

-STARR (P.F.), Musical entrepreneurship in 15th-century Europe, Vol. XXXII (2004), n. 1, pp. 119-134

-STAUFFER (G.), Bach as reviser of his own keyboard works, Vol. XIII (1985), n. 2, pp. 185-198

  • Boyvin, Grigny, D’Anglebert, and Bach’s assimilation of French Classical organ music, Vol. XXI (1993), n. 1, pp. 83-98

-STERN (C.), A brief workshop manual for recorders, Vol. VII (1979), n. 3, pp. 359-366

-STEVENS (D.), A songe of fortie partes, made by Mr. Tallys, Vol. X (1982), n. 2, pp. 171-182

  • Monteverdi’s earliest extant ballet, Vol. XIV (1986), n. 3, pp. 358-366
  • Monteverdiana 1993, , Vol. XXI (1993), n. 4, pp. 565-575
  • Musicians in 18th – century Venice, Vol. XX (1992), n. 3, pp. 402-408

-STEWART (M.), A celebration of covers, Vol. XI (1983), n. 1, pp. 23-30

  • Playing early pianos, Vol. I (1973), n. 2, pp. 93-97
  • The echoing corridor, Vol. VIII (1980), n. 3, p. 339
  • Underneath the Archives, Vol. VII (1979), n. 1, pp. 89-98
  • Unfamiliar sources, Vol. II (1974), n. 3, pp. 157-160

-STINSON (R.), J.P. Kellner’s copy of Bach’s sonatas and partitas for violin solo, Vol. XIII (1985), n. 2, pp. 199-211

-STOBART (H.), The llama’s flute: musical misunderstandings in the Andes, Vol. XXIV (1996), n. 3, pp. 470-484

-STOWELL (R.), “Good execution and other skills”, Vol. XVI (1988), n. 1, pp. 21-33

  • Violin bowing in transition, Vol. XII (1984), n. 3, pp. 316-327

-STRAS (L.), Recording Tarquinia: imitation, parody and reportage in Ingegneri’s “Hor che ‘l ciel e la terra e ‘l vento tace”, Vol. XXVII (1999), n. 3, pp. 358-378

-STROHM (R.), Dramatic dualities: Metastasio and the tradition of the opera pair, Vol. XXVI (1998), n. 4, pp. 551-561

-STUBBS (S.), Johann Mattheson – the Russian connection: the rediscovery of Boris Goudenow and his other lost operas, Vol. XXXIII (2005), n. 2, pp. 283-292

  • L’armonia Sonora: continuo orchestration in Monteverdi’s Orfeo, Vol. XXII (1994), n. 1, pp. 86-100

-SUTHERLAND (D.), Domenico Scarlatti and the Florentine piano, Vol. XXIII (1995), n. 2, pp. 243-257

-SUTTON (J.), Triple pavans: clues to some mysteries in 16th-century dance, Vol. XIV (1986), n. 2, pp. 175-181

-SWACK (J.), Quantz and the Sonata in Eb major for flute and cembalo, BWV1031, Vol. XXIII (1995), n. 1, pp. 31-53

-SWICH (L.), Further thoughts on Bach’s 1722 temperament, Vol. XXXIX (2011), n. 3, pp. 401-408

-TADA (I.), The recorder in Japan, Vol. X (1982), n. 1, pp. 38-42

-TAGLIAVINI (L.F.), Giovanni Ferrini and his harpsichord “a penne e a martelletti”, Vol. XIX (1991), n. 3, pp. 398-408

  • The art of “not leaving the instrument empty”, Vol. XI (1983), n. 3, pp. 299-308

-TARUSKIN (R.), Tradition and authority, Vol. XX (1992), n. 2, pp. 311-326

-TARUSKIN (R.), LEECH-WILKINSON (D.), TEMPERLEY (N.) & WINTER (R.), The limits of authenticity:  a discussion, Vol. XII (1984), n. 1, pp. 3-25

-TAYLOR (T.F.), The Spanish high Baroque motet and villancico, Vol. XII (1984), n. 1, pp. 64-73

-TEMPERLEY (N.), Haydn’s tempos in The Creation, Vol. XIX (1991), n. 2, p. 235

-TIPPETT (SIR M.), BERGMANN (W.) & SPENCER (R.), Alfred Deller, Vol. VIII (1980), n. 1, pp. 43-46

-THOMAS (B.), Playing the crumhorn, Vol. II (1974), n. 3, pp. 151-156

  • Renaissance music in modern notation, Vol. V (1977), n. 1, pp. 4-11
  • The crumhorn repertoire, Vol. I (1973), n. 3, pp. 142-146
  • The renaissance flute, Vol. III (1975), n. 1, pp. 2-10

-THOMPSON (R.), Manuscript music in Purcell’s London, Vol. XXIII (1995), n. 4, pp. 605-619

-THOMPSON (S.), Marc-Antoine Charpentier and the viol, Vol. XXXII (2004), n. 4, pp. 497-510

  • Once more into the viod: Marc-Antoine Charpentier’s croches blanches reconsidered, Vol. XXX (2002), n. 1, pp. 82-93

-THOMSON (J.M.), Early music – 100 issues!, Vol. XXV (1997), n. 4, pp. 549-552

-THORP (J.), Dance in late 17th-century London: Priestly muddles, Vol. XXVI (1998), n. 2, pp. 198-212

  • “So Great a Master as Mr Isaac”: an exemplary dancing-master of late Stuart London, Vol. XXXV (2007), n. 3, pp. 435-446

-TOFT (R.), Musicke a sister to Poetrie, Vol. XII (1984), n. 2, pp. 190-189

-TROEGER (R.), Metre in unmeasured preludes, Vol. XI (1983), n. 3, pp. 340-345

-TRÖSTER (P.), More about Renaissance slide trumpets: fact or fiction?, Vol. XXXII (2004), n. 2, pp. 252-270

-TYLER (J.), Checklist of music for the cittern, Vol. II (1974), n. 1, pp. 25-31

  • The Italian mandolin and mandola 1589-1800, Vol. IX (1981), n. 4, pp. 438-445
  • The mandore in the 16th and 17th centuries, Vol. IX (1981), n. 1, pp. 22-31
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-TUNLEY (D.), Grimarest’s Traité du Récitatif, Vol. XV (1987), n. 3, pp. 361-364

  • Tunings and transpositions in the early 17th – century French lute air, Vol. XXI (1993), n. 2, pp. 203-212

-TURNER (B.), Peñalosa’s hymn O luxa beata Trinitas – a contrafactum?, Vol. XXIII (1995), n. 3, p. 485

  • Spanish liturgical hymns: a matter of time, Vol. XXIII (1995), n. 3, pp. 472-484

-TURNER (B.) & PHILLIPS (P.), Scholarship and performance, Vol. VI (1978), n. 2, pp. 199-206

-UBERTI (M.), Vocal techniques in Italy in the second half of the 16th century, Vol. IX (1981), n. 4, pp. 486-497

-URQUHART (P.) & DE SAVAGE (H.), Evidence contrary to the a cappella hypothesis for the 15th-century chanson, Vol. XXXIX (2011), n. 3, pp. 359-378

-VAN BENTHEM (J.), Forced into exiles: the problematic transformation of the Goddess Fortuna into a “Gentil Madonna” (and something of a gloss on the disfigured countenance of “Rosa bella”), Vol. XXXVII (2009), n. 2, pp. 287-298

-VAN DAMME (S.), “Quasi una taciturnità”: the silence and salience of dissonance according to 16th-century theorists, Vol. XXXVIII (2010), n. 2, pp. 237-248

-VAN DER MEER (J.H.), A contribution to the history of the clavicytherium, Vol. VI (1978), n. 2, pp. 247-261

  • A curios instrument whit a five-octave compass, Vol. XIV (1986), n. 3, pp. 397-402

-VAN OORT (B.), Haydn and the English classical piano style, Vol. XXVIII (2000), n. 1, pp. 73-90

-VAN TASSEL (E.), English church music c 1660-1700 part 1, Vol. VI (1978), n. 4, pp. 572-578

  • English church music c 1660-1700 part 2, Vol. VII (1979), n. 1, pp. 85-88
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  • Purcell’s sacred music on record – II, Vol. XXIV (1996), n. 1, pp. 79-94
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-VANSCHEEUWIJCK (M.), Recent re-evaluations of the Baroque cello and what they might mean for performing the music of J.S. Bach, Vol. XXXVIII (2010), n. 2, pp. 181-192

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  • Santiago de Murcia’s Cifras Selectas de Guitarra (1722): a new source for the Baroque guitar, Vol. XXXV (2007), n. 2, pp. 251-270

-VERVLIET (S.) & VAN LOOY (B.), Bach’s chorus revisited: historically informed performance practice as “bounded creativity”, , Vol. XXXVIII (2010), n. 2, pp. 205-215

-VLAARDINGERBROEK (K.), Vivaldi catalogued, Vol. XXXVI (2008), n. 4, pp. 609-616

-VON HUENE (F.), A flute allemande in C and D by Jacob Denner of Nuremberg, Vol. XXIII (1995), n. 1, pp. 102-113

-VON RAMM (A.), Singing early music, Vol. IV (1976), n. 1, pp. 12-17

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-WEARING (C.), Orlandus Lassus (1532-1594) and the Munich Kapelle, Vol. X (1982), n. 2, pp. 147-154

-WEIGAND (G.A.), The cittern repertoire, Vol. I (1973), n. 2, pp. 81-83

-WADE (R.W.), Newly found works of C.P.E. Bach, Vol. XVI (1988), n. 4, pp. 523-531

-WAGSTAFF (G.), Morales’s Officium, chant traditions, and performing 16th-century music, Vol. XXXII (2004), n. 2, pp. 225-243

-WALKLEY (C.), Juan Esquivel: an unknown Spanish master revisited, Vol. XXIX  (2001), n. 1, pp. 76-92

-WALKLING (A.R.), Masque and politics at the Restoration court: John Crowne’s Calisto, Vol. XXIV (1996), n. 1, pp. 27-63

  • “The dating of Purcell’s Dido and Aeneas”? A reply to Bruce Wood and Andrew Pinnock, Vol. XXII (1994), n. 3, pp. 469-481

-WALLS (P.), 16th century dance forms, Vol. II (1974), n. 3, p. 164

  • “Ill-compliments and arbitrary taste?”, Vol. XIV (1986), n. 2, pp. 221-236
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  • Reconstructing the archangel: Corelli ad vivam pinxit, Vol. XXXV (2007), n. 4, pp. 525-538
  • “Sonade, que me veux tu?”: reconstructing French identity in the wake of Corell’s op.5, Vol. XXXII (2004), n. 1, pp. 27-48
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-WALTHALL (C.), Portraits of Johann Joachim Quantz, Vol. XIV (1986), n. 4, pp. 500-519

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-WATERHOUSE (W.), A newly discovered 17th-century bassoon by Haka, Vol. XVI (1988), n. 3, pp. 407-410

-WATKIN (D.), Corelli’s op.5 sonatas: “Violino e violone e cimbalo”?, Vol. XXIV (1996), n. 4, pp. 645-664

-WEBER (W.), Did people listen in the 18th century?, Vol. XXV (1997), n. 4, pp. 678-691

-WEBSTER (J.), Introduction, Vol. XIX (1991), n. 4, p. 591

-WEBBER (G.), Buxtehude’s Praeludia and the sonata publications of Corelli, Vol. XXXVIII (2010), n. 2, pp. 249-262

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  • ‘Musical understanding’ in the 15th century, Vol. XXX (2002), n. 1, pp. 46-67
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  • Pater meus agricola est: the early years of Alexander Agricola, Vol. XXXIV (2006), n. 3, pp. 375-389
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-WELKER (L.), Some aspects of the notation and performance of German song around 1400, Vol. XVIII (1989), n. 2, pp. 235-252

-WELLS (E.), An early stringed keyboard instrument: the clavicytherium in the Royal College of Music, London, Vol. VI (1978), n. 4, pp. 568-571

-WELLS (G.), London Salerooms in 1972, Vol. I (1973), n. 2, pp. 97-100

  • London Salerooms, Vol. II (1974), n. 1, pp. 35-37
  • London Salerooms, Vol. II (1974), n. 4, pp. 261
  • London Salerooms, Vol. III (1975), n.1, pp. 61-63

-WELLS (M.), The crumhorn: historical sources, Vol. I (1973), n. 3. pp. 139-141

-WELLS (R.H.), A setting of “Astrophil and Stella” by Morley, Vol. VI (1978), n. 2, pp. 230-232

  • John Dowland and Elizabeth Melancholy, Vol. XIII (1985), n. 4, pp. 514-528
  • Number symbolism in the renaissance lute rose, Vol. IX (1981), n. 1, pp. 32-41
  • The ladder of love, Vol. XII (1984), n. 2, pp. 173-189
  • The orpharion, Vol. X (1982), n. 4, pp. 427-440

-WENTZ (J.), The passion dissected or on the dangers of boiling down Alexander the Great, Vol. XXXVII (2009), n.1, pp. 101-111

-WHENHAM (J.), The Gonzagas visit Venice, Vol. XXI (1993), n. 4, pp. 525-546

-WHITE (B.), Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas, Vol. XXXVII (2009), n. 3, pp. 417-427

-WHITEHEAD (L.) & NEX (J.), Keyboard instrument building in London and the Sun Insurance records, 1775-87, Vol. XXX  (2002), n. 1, pp. 4-24

-WIDDESS (R.), The oral in writing: early Indian musical notations, Vol. XXIV (1996), n. 3, pp. 391-406

-WILLETTS (C.), First steps on the shawn, Vol. V (1977), n. 3, pp. 342-351

-WILLIAMS (A.), “Bonnie Sweet Recorder”: some issues arising from Arnold Dolmetsch’s early English recorder performances, Vol. XXXV (2007), n. 1, pp. 67-81

-WILLIAMS (P.), A chaconne by Georg Böhm: a note on German composers and French styles, Vol. XVII (1989), n. 1, pp. 43-54

  • Bach’s G minor Sonata for viola da gamba and harpsichord BWV1029, Vol. XII (1984), n. 3, pp. 345-354
  • Interpreting one of Handel’s free preludes for harpsichord, Vol. XIII (1985), n. 4, pp. 506-513
  • J. S. Bach’s Well – tempered Clavier. A new approch 1, Vol. XI (1983), n.1, pp. 46-52
  • J. S. Bach’s Well – tempered Clavier. A new approch 2, Vol. XI (1983), n. 3, p. 332
  • Two case studies in performance practice and the details of notation, 1: J.S. Bach and 2/4 time, , Vol. XXI (1993), n. 4, pp. 613-624
  • Two case studies in performance practice and the details of notation, 2: J.S. Bach and left-hand-right-hand distribution, Vol. XXII (1994), n. 1, pp. 101-113
  • BWV565: A toccata in D minor for organ by J.S. Bach?, Vol. IX (1981), n. 3, pp. 330-337

-WILLIAMS (S.J.), S. Bach’s Well-tempered Clavier, Vol. XI (1983), n. 1, p. 109

  • The Lady, the Lyrics and the Letters, Vol. V (1977), n. 4, pp. 462-468

-WILLIAMSON (M.), Pictura et scriptura: the Elton Choirbook in its iconographical context, Vol. XXVIII (2000), n. 3, pp. 359-382

  • The early Tudor court, the provinces and the Eton Choirbook, Vol. XXV (1997), n. 2, pp. 229-244
  • The recording history of the Elton Choirbook: a preliminary investigation, Vol. XXV (1997), n. 2, pp. 291-296

-WINTER (R.), Performing Beethoven’s early piano concertos, Vol. XVI (1988), n. 2, pp. 214-230

-WINTERNITZ (E.), Secular musical practice in sacred art, Vol. III (1975), n. 3, pp. 221-226

-WISTREICH (R.), “La voce è grata assai, ma…”: Monteverdi on singing, Vol. XXII (1994), n. 1, pp. 7-20

-WITTEN II (L.C.), The surviving instruments of Andrea Amati, Vol. X (1982), n. 4, pp. 487-494

-WITTS (R.), How to make a saint: on interpreting Hildegard of Bingen, Vol. XXVI (1998), n. 3, pp. 478-486

-WOJCICKA-HRUZA (L.), A manuscript source for Magnificats by Victoria, Vol. XXV (1997), n. 1, pp. 83-99

-WOLF (R.P.), Rameau’s Les Paladins, Vol. XI (1983), n. 4, pp. 497-504

-WOLFF (C.), Bach’s Leipzig Chamber Music, Vol. XIII (1985), n. 2, pp. 165-175

-WOLINSKI (M.) & HAGGH (B.), Two 13th-century hockets on Manere recovered, Vol. XXXVIII (2010), n. 1, pp. 43-58

-WOLLENBERG (S.), The Oxford exercises in the 18th century, Vol. XXVIII (2000), n. 4, pp. 546-556

-WOLLNY (P.), From Lübeck to Sweden: thoughts and observation on the Buxtehude sources in the Düben collection, Vol. XXXV (2007), n. 3, pp. 371-383

-WOLLSTON (S.), New light on Purcell’s early overtures, Vol. XXXVII (2009), n.4, pp. 647-656

-WOOD (B.), Handel’s Water Music on period instruments, Vol. XIII (1985), n. 4, pp. 554-564

-WOOD (B.) & PINNOCK (A.), A mangled chime: the accidental death of the opera libretto in Civil War England, Vol. XXXVI (2008), n. 2, pp. 265-284

  • The Fairy Queen: a fresh look at the issues, Vol. XXI (1993), n. 1, pp. 44-64
  • “Unscarr’d by turning times”?: the dating of Purcell’s Dido and Aeneas, Vol. XX (1992), n. 3, pp. 372-391

-WOOD (J.K.), “A flowing harmony”: music on the Thames in Restoration London, Vol. XXIII (1995), n. 4, pp. 553-584

-WOODFIELD (I.), Posture in viol playing, Vol. VI (1978), n. 1, pp. 36-40

  • Viole playing techniques in the mid-16th century : a survey of Ganassi’s fingering instructions, Vol. VI (1978), n. 4, pp. 544-550

-WRAIGHT (D.), A Zenti harpsichord rediscovered, Vol. XIX (1991), n. 1, pp. 99-102

  • Recent approaches in understanding Cristofori’s fortepiano, Vol. XXXIV (2006), n. 4, pp. 635-644
  • Vincentius and the earliest harpsichords, Vol. XIV (1986), n. 4, pp. 534-540

-WRIGHT (O.), Middle Eastern song-text collections, Vol. XXIV (1996), n. 3, pp. 454-469

-WULSTAN (F.), Glorious uncertainty, Vol. XIV (1986), n. 3, pp. 406-408

-WYTHE (D.), The pianos of Conrad Graf, Vol. XII (1984), n. 4, pp. 447-460

-YEARSLEY (D.), In Buxtehude’s footsteps, Vol. XXXV (2007), n. 3, pp. 339-354

-YELLOLY (M.), “The ingenious Miss Turner”: Elizabeth Turner (d1756), singer, harpsichordist and composer, Vol. XXXIII (2005), n. 1, pp. 65-80

-YRI (K.), Thomas Binkley and the Studio der Frühen Musik: challenging “the myth of Westernness”, Vol. XXXVIII (2010), n. 2, pp. 273-280

-ZADRO (M.), Restoring woodwind instruments, Vol. II (1974), n. 3, pp. 169-174

  • Woods used for woodwind instruments since the 16th century 1, Vol. III (1975), n. 2, pp. 134-136
  • Woods used for woodwind instruments since the 16th century 2, Vol. III (1975), n. 3, pp. 249-251
  • The medieval, renaissance and baroque lute in pictures, Vol. III (1975), n. 2, pp. 137-139

-ZASLAW (N.), Baroque ornamentation surveyed, Vol. IX (1981), n. 1, pp. 63-67

  • In vino veritas, Vol. XXV (1997), n. 4, p. 568
  • Mozart’s orchestras: applying historical knowledge to modern performances, Vol. XX (1992), n. 2, pp. 197-206
  • Ornaments for Corelli’s Violin Sonatas, op.5, Vol. XXIV (1996), n. 1, pp. 95-118
  • Reflections on 50 years of early music, Vol. XXVIX (2001), n. 1, pp. 5-14
  • The Compleat Orchestral Musician, Vol. VII (1979), n. 1, pp. 46-58
  • When is an Orchestra not an Orchestra?, Vol. XVI (1988), n. 4, pp. 483-495

-ZAZULIA (E.), “Corps contre corps”, voix contre voix: conflicting codes of discourse in the combinative chanson, Vol. XXXVIII (2010), n. 3, pp. 347-360

-ZOHN (S.), New light on Quantz’s advocacy of Telemann’s music, Vol. XXV (1997), n. 3, pp. 441-461

-ZON (B.), The origin of Adeste fideles, Vol. XXIV (1996), n. 2, pp. 279-289

-ZYCH (C.), A political dimension, Vol. XXV (1997), n. 4, pp. 569-570