@book{ _instruments_2012,
  title = {Instruments pour jouer les musiques du Moyen Âge},
  url = {http://www.instrumentsmedievaux.org},
  urldate = {2012-11-27},
  month = {November},
  year = {2012},
  keywords = {Organologie}
}

@book{ lander_memento_2012,
  title = {A Memento : the Medieval Recorder},
  url = {http://www.recorderhomepage.net/medieval.html},
  urldate = {2012-11-27},
  author = {Lander, Nicholas S.},
  month = {November},
  year = {2012},
  keywords = {Aérophone, Flûte, Organologie}
}

@book{ clouzot_jongleur_2011,
  address = {Bern-New York},
  title = {Le jongleur : mémoire de l'image au Moyen Âge. Figures, figurations et musicalité dans les manuscrits enluminés (1200-1330)},
  isbn = {9783034305365 3034305362},
  shorttitle = {Le jongleur},
  abstract = {"En couleur et en mouvement, le jongleur joue de la musique parmi les oiseaux, les animaux et les rinceaux fleuris des livres enluminés du Moyen Age. Jamais loin du roi David, il accroche l'oeil et éveille l'esprit par son caractère incongru et étonnant. Ce livre est consacré à ses figurations dans les psautiers, les ouvrages de philosophie naturelle et de métaphysique d'Aristote, destinés aux laïcs, dans les royaumes de France et d'Angleterre, entre 1200 et 1330. Il étudie la transformation de la figure du jongleur depuis l'Antiquité jusqu'à sa réinvention par les nouveaux intellectuels du {XIIIe} siècle, soucieux de se distinguer du jongleur : Dominicains, Franciscains et maîtres séculiers de l'Université, ainsi que les poètes et les ménestrels dans les cours et les villes. Savamment, auteurs et concepteurs d'images ont forgé une figure en mouvement de la Physis, du son et de l'ouïe, axée sur la théorie de la connaissance aristotélicienne, transformant ainsi le jongleur en image de mémoire et en mémoire de l'image, celle du Christ et de l'homme créé à l'image de Dieu." P. [4] of cover.},
  language = {French},
  publisher = {Peter Lang},
  author = {Clouzot, Martine},
  year = {2011},
  keywords = {Iconographie}
}

"En couleur et en mouvement, le jongleur joue de la musique parmi les oiseaux, les animaux et les rinceaux fleuris des livres enluminés du Moyen Age. Jamais loin du roi David, il accroche l'oeil et éveille l'esprit par son caractère incongru et étonnant. Ce livre est consacré à ses figurations dans les psautiers, les ouvrages de philosophie naturelle et de métaphysique d'Aristote, destinés aux laïcs, dans les royaumes de France et d'Angleterre, entre 1200 et 1330. Il étudie la transformation de la figure du jongleur depuis l'Antiquité jusqu'à sa réinvention par les nouveaux intellectuels du XIIIe siècle, soucieux de se distinguer du jongleur : Dominicains, Franciscains et maîtres séculiers de l'Université, ainsi que les poètes et les ménestrels dans les cours et les villes. Savamment, auteurs et concepteurs d'images ont forgé une figure en mouvement de la Physis, du son et de l'ouïe, axée sur la théorie de la connaissance aristotélicienne, transformant ainsi le jongleur en image de mémoire et en mémoire de l'image, celle du Christ et de l'homme créé à l'image de Dieu." P. [4] of cover.

@book{ molina_frame_2010,
  address = {Kassel},
  series = {{DeMusica}},
  title = {Frame Drums in the Medieval Iberian Peninsula},
  isbn = {3-937734-71-6},
  abstract = {Texte remanié de thèse de doctorat : City University of New York, 2006},
  language = {anglais},
  number = {14},
  publisher = {Reichenberger},
  author = {Molina, Mauricio},
  year = {2010},
  keywords = {Idiophone, Organologie, Tambourin}
}

Texte remanié de thèse de doctorat : City University of New York, 2006

@incollection{ haines_sight-reading_2009,
  address = {Farnham-Burlington},
  title = {A Sight-Reading Vielle Player from the Thirteenth Century},
  abstract = {Manuscrit de Gautier de Coincy conservé à Bruxelles, Bibliothèque royale de Belgique, ms. 10747, folio 3 recto.},
  booktitle = {The Sounds and Sights of Performance in Early Music. Essays in honour of Timothy J. Gee},
  publisher = {Ashgate},
  author = {Haines, John},
  editor = {Epp, Maureen and Power, Brian E.},
  year = {2009},
  keywords = {Cordophone (cordes frottées), Iconographie, Organologie, Performance, Vièle},
  pages = {13--26}
}

Manuscrit de Gautier de Coincy conservé à Bruxelles, Bibliothèque royale de Belgique, ms. 10747, folio 3 recto.

@book{ getreau_iconographie_2008,
  address = {Paris},
  title = {Iconographie musicale : enjeux, méthodes et résultats},
  copyright = {Catalogue en ligne de la Bibliothèque nationale de France},
  shorttitle = {Iconographie musicale},
  urldate = {2012-04-26},
  publisher = {{CNRS} éditions},
  editor = {Gétreau, Florence},
  year = {2008},
  keywords = {Iconographie}
}

@article{ houssay_historiques_2008,
  title = {Historiques des cordes harmoniques : évolutions et innovations},
  issn = {1771-3641},
  shorttitle = {Historiques des cordes harmoniques},
  abstract = {The word chord is a geometrical term designating a segment whose ends are the points of a curve. Concretely, this referred to the stretched cord on the hunter's or warrior's bow. The etymology of the Latin word chorda in southern Europe derives from the Greek khorde, from the Hittite karad meaning intestines. The word itself evokes the original stringed instrument, the bow, and the reference to gut strings stretched on musical instruments as used to this day. The Anglo-Saxon term string, on the other hand, comes from the Latin stringere: to make tense, from the Greek strangale, a cord, perhaps made of vegetable fiber. The action of stretching is also found in the proto-German strangiz from the root strang meaning taut or stiff, strong, rigid. The major historical innovations in the use and production of strings for musical instruments from the end of the Middle Ages to the 1950s, when strings made of synthetic fibers became popular, are discussed., [unedited non–English abstract received by {RILM}] Le mot corde est un terme de mathématiques pour désigner un segment dont les extrémités sont des points d’une courbe. Matériellement, il s’agit d’abord de la corde tendue sur l’arc du guerrier ou du chasseur. L’étymologie du terme latin chorda, décliné dans le sud de l’Europe, vient du grec khorde [Le Robert, 1998], issu du hittite karad, signifiant « intestins ». On distingue dans le mot même l’évocation de l’instrument à corde originel qu’est l’arc, mais également la référence à la corde en boyau tendue sur les instruments de musique jouée jusqu’à nos jours. En revanche, le terme anglo-saxon string est issu du latin stringere : mettre en tension, qui provient du grec : strangale — une corde [Partridge, 1983] —, peut-être en fibre végétale ? L’action de tendre se retrouve dans le proto-germain *strangiz, de la base *strang – « taut, stiff », signifiant « fort », « rigide », « raide ». Cet article propose de retracer les grandes évolutions historiques de l’utilisation et de la fabrication des cordes destinées à la facture instrumentale de la fin du Moyen-Âge jusqu’aux années 1950, lorsque se propagent les cordes en fibres synthétiques.},
  number = {3},
  journal = {Musique \& technique : revue professionnelle de la facture instrumentale},
  author = {Houssay, Anne},
  year = {2008},
  keywords = {Cordophone, Fabrication d'instrument de musique, Organologie},
  pages = {100--113}
}

The word chord is a geometrical term designating a segment whose ends are the points of a curve. Concretely, this referred to the stretched cord on the hunter's or warrior's bow. The etymology of the Latin word chorda in southern Europe derives from the Greek khorde, from the Hittite karad meaning intestines. The word itself evokes the original stringed instrument, the bow, and the reference to gut strings stretched on musical instruments as used to this day. The Anglo-Saxon term string, on the other hand, comes from the Latin stringere: to make tense, from the Greek strangale, a cord, perhaps made of vegetable fiber. The action of stretching is also found in the proto-German strangiz from the root strang meaning taut or stiff, strong, rigid. The major historical innovations in the use and production of strings for musical instruments from the end of the Middle Ages to the 1950s, when strings made of synthetic fibers became popular, are discussed., [unedited non–English abstract received by RILM] Le mot corde est un terme de mathématiques pour désigner un segment dont les extrémités sont des points d’une courbe. Matériellement, il s’agit d’abord de la corde tendue sur l’arc du guerrier ou du chasseur. L’étymologie du terme latin chorda, décliné dans le sud de l’Europe, vient du grec khorde [Le Robert, 1998], issu du hittite karad, signifiant « intestins ». On distingue dans le mot même l’évocation de l’instrument à corde originel qu’est l’arc, mais également la référence à la corde en boyau tendue sur les instruments de musique jouée jusqu’à nos jours. En revanche, le terme anglo-saxon string est issu du latin stringere : mettre en tension, qui provient du grec : strangale — une corde [Partridge, 1983] —, peut-être en fibre végétale ? L’action de tendre se retrouve dans le proto-germain *strangiz, de la base *strang – « taut, stiff », signifiant « fort », « rigide », « raide ». Cet article propose de retracer les grandes évolutions historiques de l’utilisation et de la fabrication des cordes destinées à la facture instrumentale de la fin du Moyen-Âge jusqu’aux années 1950, lorsque se propagent les cordes en fibres synthétiques.

@incollection{ marchesin_liconographie_2008,
  address = {Firenze},
  series = {Millenio medievale},
  title = {L’iconographie du Cantique des Cantiques au Moyen Âge},
  language = {français},
  number = {76},
  booktitle = {Il Cantico dei Cantici nel Medioevo. Atti del convegno internazionale dell'Università degli studi di Milano e della Società internazionale per lo studio del Medioevo latino (Gargano sul Garda, 22-24 maggio 2006)},
  publisher = {{SISMEL}-del Galluzzo},
  author = {Marchesin, Isabelle},
  editor = {Guglielmetti, Rossana E.},
  year = {2008},
  keywords = {Bible, Enluminure, Iconographie},
  pages = {277--294}
}

@article{ cabiran_muse_2008,
  title = {De la muse à la cornemuse : les origines d'un instrument méconnu},
  volume = {20},
  journal = {Histoire et images médiévales},
  author = {Cabiran, Pierre-Alexis and Dieu, Lionel and Brassy, Christian},
  year = {2008},
  keywords = {Aérophone, Cornemuse, Organologie},
  pages = {28--35}
}

@book{ schmuhl_geschichte_2008,
  address = {Blankenburg},
  series = {Michaelsteiner Konferenzberichte},
  title = {Geschichte, Bauweise und Spieltechnik der Querflöte},
  isbn = {3-89512-136-3},
  number = {74},
  publisher = {Stiftung Kloster Michaelstein},
  editor = {Schmuhl, Boje E. Hans and Lustig, Monika},
  year = {2008},
  keywords = {Aérophone, Flûte, Organologie}
}

@article{ moody_voices_2008,
  title = {Voices and Instruments in Medieval Song and Liturgy},
  volume = {36},
  issn = {0306-1078},
  abstract = {A review-essay of recent recordings of this repertoire.},
  number = {2},
  journal = {Early music},
  author = {Moody, Ivan},
  year = {2008},
  keywords = {Chant, Liturgie, Organologie, Performance},
  pages = {323--324}
}

A review-essay of recent recordings of this repertoire.

@article{ porras_robles_musica_2007,
  title = {La música y los instrumentos musicales en el Románico},
  volume = {5},
  journal = {Románico : revista de arte de amigos del románico},
  author = {Porras Robles, Faustino},
  year = {2007},
  keywords = {Iconographie, Organologie},
  pages = {28--33}
}

@incollection{ gonon_metallurgie_2007,
  address = {s. l.},
  title = {La métallurgie campanaire aux temps d’Agricola},
  isbn = {2-913078-33 ; {EAN} : 978291307833},
  booktitle = {Agricola. Colloque d'Annaberg-Buchholz (Allemagne, 21-23 juin 2007)},
  publisher = {Conseil général du Val de Marne},
  author = {Gonon, Thierry},
  year = {2007},
  keywords = {Archéologie, Cloche, Idiophone, Organologie},
  pages = {357--369}
}

@article{ roc_note_2007,
  title = {Note sur un chapiteau roman unique en France dans l’église de Dienne},
  volume = {12},
  url = {http://apemutam.instrumentsmedievaux.org/jcroc_dienne.pdf},
  journal = {Patrimoine en Haute-Auvergne, Arts, lettres, histoire, ethnographie},
  author = {Roc, Jean-Claude},
  year = {2007},
  keywords = {Iconographie, Sculpture monumentale},
  pages = {37--40}
}

@article{ zhang__2006,
  title = {中世纪与文艺复兴时期管弦乐器分类——西方管乐器系列研究之二},
  issn = {1003-7721},
  abstract = {Part I is cited as {RILM} [ref]2005-12075[/ref]., [unedited non–English abstract received by {RILM}] 文章以中世纪与文艺复兴时期的管乐器为主要对象,对这两个时期的管乐器进行了分类描述.},
  journal = {Huangzhong : journal of Wuhan Conservatory of Music (China)},
  author = {Zhang, Bin},
  year = {2006},
  keywords = {Aérophone, Organologie},
  pages = {44--48}
}

Part I is cited as RILM [ref]2005-12075[/ref]., [unedited non–English abstract received by RILM] 文章以中世纪与文艺复兴时期的管乐器为主要对象,对这两个时期的管乐器进行了分类描述.

@book{ dieu_musique_2006,
  address = {Saint-Côme-d'Olt-Paris},
  title = {La musique dans la sculpture romane en France, t. 2 : Les musiciens},
  publisher = {Centre de Développement en Art et Culture Médiévale ({CDACM})-Pollen},
  author = {Dieu, Lionel},
  year = {2006},
  keywords = {Iconographie, Organologie, Sculpture monumentale}
}

@article{ montagu_musical_2006,
  title = {Musical Instruments in the Macclesfield Psalter},
  volume = {34},
  issn = {0306-1078},
  abstract = {Describes and discusses the musical instruments portrayed in the early 14th-century East Anglian Macclesfield Psalter, now in the Fitzwilliam Museum, Cambridge, {MS} 1-2005 and illustrates many of them. The depictions included nine long trumpets, five short trumpets, five fiddles, pipe and tabor, horn, organ, bagpipes, citole, pipe, flute, hurdy gurdy, and bells.},
  number = {2},
  journal = {Early music},
  author = {Montagu, Jeremy},
  year = {2006},
  keywords = {Enluminure, Iconographie, Organologie, Psautier},
  pages = {189--204}
}

Describes and discusses the musical instruments portrayed in the early 14th-century East Anglian Macclesfield Psalter, now in the Fitzwilliam Museum, Cambridge, MS 1-2005 and illustrates many of them. The depictions included nine long trumpets, five short trumpets, five fiddles, pipe and tabor, horn, organ, bagpipes, citole, pipe, flute, hurdy gurdy, and bells.

@article{ dieu_denonciation_2006,
  title = {La dénonciation de la croyance naturaliste dans la sculpture romane},
  volume = {9},
  journal = {Histoire et images médiévales},
  author = {Dieu, Lionel},
  year = {2006},
  keywords = {Iconographie, Organologie, Sculpture monumentale},
  pages = {36--40}
}

@incollection{ lasocki_bibliography_2005,
  address = {Utrecht},
  title = {A Bibliography of Writings about Medieval and Renaissance Flutes},
  url = {http://books.google.fr/books/about/Musicque_de_Joye.html?id=GJMXAQAAIAAJ&redir_esc=y},
  abstract = {Provides lists of treatises, their translations, and current scholarship.},
  booktitle = {Musicque de joye. Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort (Utrecht, 2003)},
  publisher = {Stichting Muziekhistorische Uitvoeringspraktijk ({STIMU})},
  author = {Lasocki, David},
  editor = {Lasocki, David},
  year = {2005},
  keywords = {Aérophone, Bibliographie, Flûte, Organologie},
  pages = {523--531}
}

Provides lists of treatises, their translations, and current scholarship.

@article{ dieu_signification_2005,
  title = {De la signification des symboles : le portail roman d’Aulnay},
  volume = {3},
  journal = {Histoire et images médiévales},
  author = {Dieu, Lionel},
  year = {2005},
  keywords = {Iconographie, Sculpture monumentale},
  pages = {17--21}
}

@book{ clouzot_les_2005,
  address = {Paris},
  series = {Cahiers du musée de la Musique},
  title = {Les représentations de la musique au Moyen Âge. Actes du colloque du musée de la Musique (2-3 avril 2004)},
  isbn = {9782914147293},
  number = {6},
  publisher = {Cité de la Musique},
  editor = {Clouzot, Martine and Laloue, Christine},
  year = {2005},
  keywords = {Iconographie}
}

@incollection{ fritz_cithare_2005,
  address = {Paris},
  series = {Cahiers du musée de la Musique},
  title = {Cithare de la foi et harpe de la dame : allégories instrumentales dans la théologie et la littérature du Moyen Âge},
  isbn = {9782914147293},
  number = {6},
  booktitle = {Les représentations de la musique au Moyen Âge. Actes du colloque du musée de la Musique (2-3 avril 2004)},
  publisher = {Cité de la Musique},
  author = {Fritz, Jean-Marie},
  editor = {Clouzot, Martine and Laloue, Christine},
  year = {2005},
  keywords = {Cithare, Cordophone (cordes pincées), Harpe, Littérature, Organologie},
  pages = {100--107}
}

@article{ rault_aspectos_2004,
  title = {Aspectos de la relación entre iconografía medieval i práctica interpretativa},
  volume = {2},
  journal = {Revista Catalana de Musicologia},
  author = {Rault, Christian},
  year = {2004},
  keywords = {Iconographie, Organologie},
  pages = {11--19}
}

@incollection{ tamboer_plover_2004,
  address = {Rahden},
  series = {Studien zur Musikarchäologie},
  title = {Plover Calls of the Netherlands : archaeological finds and living tradition},
  shorttitle = {Plover calls of the Netherlands},
  abstract = {Simple, small bone pipes, flutes with one mouth-hole and with none, have been found in the Netherlands. These are fipple flutes with internal holes with window and labium. They date back to the Middle Ages and into the 16th c. Contemporary records provide no details about their construction and function, however modern Holland provides clues about the construction and use of these archaeological pipes, since similar pipes are used today by birdcatchers to lure plovers into their nets. These instruments are generally made by the birdcatchers themselves out of bone or wood with a great deal of care and precision, as the pipes are highly valued. Treatises on hunting and other 17th-c. literature bridge the timespan between the early archaeological pipes and those of the 20th-21st c. Tradition and written descriptions prove that the simple archaeological pipes of the Netherlands are not isolated phenomena, but elements of a continuous and living tradition., [unedited non–English abstract received by {RILM}] In den Niederlanden wurden einfache kleine Knochenpfeifen, -flöten mit einem Blasloch und ohne ein solches gefunden. Es handelt sich um Innenspaltflöten mit Aufschnitt und Schneide. Sie datieren ins Mittelalter und ins 16. Jahrhundert. Details zu ihrer Bauweise und Funktion sind von zeitgenössischen Schriftzeugnissen nicht herzuleiten. Aus dem modernen niederländischen Umfeld ergeben sich aber Hinweise auf die Konstruktion und den Gebrauch dieser archäologischen Pfeifen, denn Pfeifen ähnlichen Typs werden bis heute von Vogelfängern dazu benutzt, Regenpfeifer in ihre Fangnetze zu locken. Die Instrumente werden von den Vogelfängern selbst meist aus Knochen oder Holz hergestellt, worauf sie viel Sorgfalt und Detailgenauigkeit verwenden, weil die Pfeifen hoch geschätzt sind. Die Zeitspanne zwischen den frühen archäologischen Pfeifen und denen des 20./21. Jahrhunderts wird in der Traditionsbildung von Jagdabhandlungen und anderer Literatur des 17. Jahrhunderts überbrückt. Brauchtum und schriftliche Darstellungen belegen, dass die schlichten archäologischen Pfeifen in den Niederlanden keine isolierten Erscheinungen, sondern Bestandteile einer kontinuierlichen, lebendigen Traditionskette sind.},
  number = {4},
  booktitle = {Musikarchäologische Quellengruppen : Bodenurkunden, mündliche Überlieferung, Aufzeichnung},
  publisher = {Leidorf},
  author = {Tamboer, Annemies},
  editor = {Hickmann, Ellen and Eichmann, Ricardo},
  year = {2004},
  keywords = {Archéologie, Aérophone, Flûte, Organologie},
  pages = {181--192}
}

Simple, small bone pipes, flutes with one mouth-hole and with none, have been found in the Netherlands. These are fipple flutes with internal holes with window and labium. They date back to the Middle Ages and into the 16th c. Contemporary records provide no details about their construction and function, however modern Holland provides clues about the construction and use of these archaeological pipes, since similar pipes are used today by birdcatchers to lure plovers into their nets. These instruments are generally made by the birdcatchers themselves out of bone or wood with a great deal of care and precision, as the pipes are highly valued. Treatises on hunting and other 17th-c. literature bridge the timespan between the early archaeological pipes and those of the 20th-21st c. Tradition and written descriptions prove that the simple archaeological pipes of the Netherlands are not isolated phenomena, but elements of a continuous and living tradition., [unedited non–English abstract received by RILM] In den Niederlanden wurden einfache kleine Knochenpfeifen, -flöten mit einem Blasloch und ohne ein solches gefunden. Es handelt sich um Innenspaltflöten mit Aufschnitt und Schneide. Sie datieren ins Mittelalter und ins 16. Jahrhundert. Details zu ihrer Bauweise und Funktion sind von zeitgenössischen Schriftzeugnissen nicht herzuleiten. Aus dem modernen niederländischen Umfeld ergeben sich aber Hinweise auf die Konstruktion und den Gebrauch dieser archäologischen Pfeifen, denn Pfeifen ähnlichen Typs werden bis heute von Vogelfängern dazu benutzt, Regenpfeifer in ihre Fangnetze zu locken. Die Instrumente werden von den Vogelfängern selbst meist aus Knochen oder Holz hergestellt, worauf sie viel Sorgfalt und Detailgenauigkeit verwenden, weil die Pfeifen hoch geschätzt sind. Die Zeitspanne zwischen den frühen archäologischen Pfeifen und denen des 20./21. Jahrhunderts wird in der Traditionsbildung von Jagdabhandlungen und anderer Literatur des 17. Jahrhunderts überbrückt. Brauchtum und schriftliche Darstellungen belegen, dass die schlichten archäologischen Pfeifen in den Niederlanden keine isolierten Erscheinungen, sondern Bestandteile einer kontinuierlichen, lebendigen Traditionskette sind.

@incollection{ clouzot_prince_2004,
  address = {Paris},
  title = {Le prince, le fou et l'ange : figures et pratiques sociales ({XIIIe}-{XVe} siècles)},
  abstract = {Explores depictions of music in European medieval visual art where it associated with courts, refinement, politics power, and love; animals, jongleurs, and the grotesque; angels, and celestial harmony.},
  language = {français},
  booktitle = {Moyen Âge : entre ordre et désordre. Catalogue de l'exposition du musée de la Musique (26 mars-27 juin 2004)},
  publisher = {Cité de la Musique-Réunion des musées nationaux},
  author = {Clouzot, Martine},
  editor = {Challier, Marion and Caille, Bernadette},
  year = {2004},
  keywords = {Animal, Cosmologie, Iconographie},
  pages = {52--59}
}

Explores depictions of music in European medieval visual art where it associated with courts, refinement, politics power, and love; animals, jongleurs, and the grotesque; angels, and celestial harmony.

@incollection{ marchesin_david_2004,
  address = {Paris},
  title = {David règne sur la Cité},
  booktitle = {Moyen Âge : entre ordre et désordre. Catalogue de l'exposition du musée de la Musique (26 mars-27 juin 2004)},
  publisher = {Cité de la Musique-Réunion des musées nationaux},
  author = {Marchesin, Isabelle},
  editor = {Caille, Bernadette and Challier, Marion},
  year = {2004},
  keywords = {Enluminure, Iconographie},
  pages = {86--87}
}

@incollection{ schreurs_zangmeesters_2004,
  title = {Zangmeesters, organisten en andere musici in de collegiale kerk van Onze-Lieve-Vrouw in Tongeren (Middeleeuwen, 1797)},
  shorttitle = {Orgelspiegel},
  language = {néérlandais},
  booktitle = {Orgelspiegel : het Le Picard-orgel in Onze-Lieve-Vrouwebasiliek van Tongeren},
  publisher = {Forum Musicale},
  author = {Schreurs, Eugeen},
  editor = {Bielen, Jos and Ponet, Louis},
  year = {2004},
  keywords = {Aérophone, Organologie, Orgue},
  pages = {59--63}
}

@article{ cabiran_a_2003,
  title = {À la découverte des muses médiévales},
  volume = {46},
  url = {http://articles.instrumentsmedievaux.org/cabdieumuses.pdf},
  journal = {Histoire médiévale},
  author = {Cabiran, Pierre-Alexis and Dieu, Lionel},
  year = {2003},
  keywords = {Archéologie, Aérophone, Iconographie, Muse (instrument de musique), Organologie}
}

@article{ dieu_olifant_2003,
  title = {L'olifant et le cor},
  volume = {36},
  issn = {0758-4245},
  abstract = {An overview of the horn and the oliphant in medieval Europe.},
  journal = {La vie en Champagne},
  author = {Dieu, Lionel},
  month = {October},
  year = {2003},
  keywords = {Aérophone, Cor, Organologie},
  pages = {49--62}
}

An overview of the horn and the oliphant in medieval Europe.

@book{ bonjour_cathedrale_2003,
  address = {Orléans},
  series = {Ressources patrimoine},
  title = {La cathédrale de Chartres : sur les traces de la musique [ressource électronique]},
  isbn = {2-86630-160-9},
  shorttitle = {La cathédrale de Chartres},
  language = {français},
  publisher = {{SCÉRÉN}-{CRDP} de l'académie d'Orléans-Tours},
  author = {Bonjour, André and Petitdemange, André},
  year = {2003},
  keywords = {Iconographie, Organologie}
}

@book{ rault_les_2001,
  address = {Royaumont},
  title = {Les instruments du temps de Guillaume {IX}},
  url = {http://articles.instrumentsmedievaux.org/raultguillom.pdf},
  author = {Rault, Christian},
  year = {2001},
  keywords = {Organologie}
}

@book{ boone_cornemuses_2001,
  address = {Sprimont},
  series = {Musée des instruments de musique},
  title = {Cornemuses européennes = Europese doedelzakken = European Bagpipes},
  number = {7},
  publisher = {Mardaga},
  author = {Boone, Hubert},
  year = {2001},
  keywords = {Aérophone, Cornemuse, Organologie}
}

@book{ le_vot_vocabulaire_2001,
  address = {s. l.},
  title = {Vocabulaire de la musique médiévale},
  publisher = {Minerve},
  author = {Le Vot, Gérard},
  year = {2001}
}

@phdthesis{ troster_alta-ensemble_2001,
  address = {Tübingen},
  title = {Das Alta-Ensemble und seine Instrumente von der Spätgotik bis zur Hochrenaissance (1300-1550) : eine musikikonographische Studie},
  abstract = {English : The alto ensemble was one of the favorite musical groups of the Late Middle Ages. It consisted of loud instruments such as high oboes, darker shawms (bombardes), bagpipes, slide trumpets, trombones, and cornets. These are piercing instruments mostly used for great fanfares at court or in the town and at major celebrations. Iconoraphic evidence is used to determine in what combinations they typically played, and the instruments themselves are closely examined in the illustrations. New discoveries on the late medieval instrumntarium are presented. An inventory of iconographic sources for alta ensemble is included. German : [unedited non–English abstract received by {RILM}] In dieser musikikonografischen Studie wird eine der beliebtesten Musikformationen des Spätmittelalters, das Alta-Ensemble, untersucht. Es bestand aus laut klingenden Instrumenten wie Schalmei, Pommer, Sackpfeife, Zugtrompete, Posaune und Zink. Aufgrund ihres durchdringenden Klangs spielten diese Instrumente an Höfen und in Städten zu repräsentativen Anlässen oder bei öffentlichen Festen. Anhand von Kunstwerken wird einerseits untersucht, in welchen Kombinationen diese Instrumente auftraten und welche Besetzungen typisch waren. Andererseits werden detailliert die darin spielenden Instrumente musikikonografisch unter die Lupe genommen. So werden neue Erkenntnisse zur Entwicklung des spätmittelalterlichen Instrumentariums gewonnen.},
  school = {Musikwissenschaft from Eberhard-Karls-Universität},
  author = {Tröster, Patrick},
  year = {2001},
  keywords = {Aérophone, Iconographie, Organologie}
}

English : The alto ensemble was one of the favorite musical groups of the Late Middle Ages. It consisted of loud instruments such as high oboes, darker shawms (bombardes), bagpipes, slide trumpets, trombones, and cornets. These are piercing instruments mostly used for great fanfares at court or in the town and at major celebrations. Iconoraphic evidence is used to determine in what combinations they typically played, and the instruments themselves are closely examined in the illustrations. New discoveries on the late medieval instrumntarium are presented. An inventory of iconographic sources for alta ensemble is included. German : [unedited non–English abstract received by RILM] In dieser musikikonografischen Studie wird eine der beliebtesten Musikformationen des Spätmittelalters, das Alta-Ensemble, untersucht. Es bestand aus laut klingenden Instrumenten wie Schalmei, Pommer, Sackpfeife, Zugtrompete, Posaune und Zink. Aufgrund ihres durchdringenden Klangs spielten diese Instrumente an Höfen und in Städten zu repräsentativen Anlässen oder bei öffentlichen Festen. Anhand von Kunstwerken wird einerseits untersucht, in welchen Kombinationen diese Instrumente auftraten und welche Besetzungen typisch waren. Andererseits werden detailliert die darin spielenden Instrumente musikikonografisch unter die Lupe genommen. So werden neue Erkenntnisse zur Entwicklung des spätmittelalterlichen Instrumentariums gewonnen.

@incollection{ tindemans_vielle_2000,
  address = {Bloomington-Indianapolis},
  series = {Performer's guides to Early music},
  title = {Vielle before 1300},
  isbn = {0-253-21533-1},
  language = {anglais},
  booktitle = {A Performer's Guide to Medieval Music},
  publisher = {Indiana University press},
  author = {Tindemans, Margriet},
  editor = {Duffin, Ross W.},
  year = {2000},
  keywords = {Cordophone (cordes frottées), Organologie, Performance, Vièle},
  pages = {293--301}
}

@incollection{ green_symphonia_2000,
  address = {Bloomington-Indianapolis},
  series = {Performer's guides to Early music},
  title = {Symphonia},
  isbn = {0-253-21533-1},
  language = {anglais},
  booktitle = {A Performer's Guide to Medieval Music},
  publisher = {Indiana University press},
  author = {Green, Robert},
  editor = {Duffin, Ross W.},
  year = {2000},
  keywords = {Cordophone (cordes frottées), Organologie, Performance, Vielle à roue (organistrum et symphonia)},
  pages = {325--329}
}

@incollection{ fulton_playing_2000,
  address = {Bloomington-Indianapolis},
  series = {Performer's guides to Early music},
  title = {Playing the Late Medieval Harp},
  isbn = {0-253-21533-1},
  language = {anglais},
  booktitle = {A Performer's Guide to Medieval Music},
  publisher = {Indiana University press},
  author = {Fulton, Cheryl Ann},
  editor = {Duffin, Ross W.},
  year = {2000},
  keywords = {Cordophone (cordes pincées), Harpe, Organologie, Performance},
  pages = {345--354}
}

@incollection{ myers_harp_2000,
  address = {Bloomington-Indianapolis},
  series = {Performer's guides to Early music},
  title = {Harp},
  isbn = {0-253-21533-1},
  language = {anglais},
  booktitle = {A Performer's Guide to Medieval Music},
  publisher = {Indiana University press},
  author = {Myers, Herbert W.},
  editor = {Duffin, Ross W.},
  year = {2000},
  keywords = {Cordophone (cordes pincées), Harpe, Organologie, Performance},
  pages = {330--335}
}

@incollection{ gonon_cloches_2000,
  address = {Champs-sur-Marne},
  title = {Cloches anciennes, conservation et utilisation (au-delà de la cloche : l’installation et son entretien)},
  publisher = {Section Française de l'Institut International de Conservation ({SFIIC})},
  author = {Gonon, Thierry},
  year = {2000},
  keywords = {Archéologie, Cloche, Idiophone, Organologie},
  pages = {125--131}
}

@incollection{ maund_percussion_2000,
  address = {Bloomington-Indianapolis},
  series = {Performer's guides to Early music},
  title = {Percussion},
  isbn = {0-253-21533-1},
  language = {anglais},
  booktitle = {A Performer's Guide to Medieval Music},
  publisher = {Indiana University press},
  author = {Maund, Peter},
  editor = {Duffin, Ross W.},
  year = {2000},
  keywords = {Idiophone, Membranophone, Organologie, Percussion, Performance},
  pages = {442--447}
}

@incollection{ luengo_instruments_1999,
  address = {Grâne},
  series = {Rencontres à Royaumont},
  title = {Instruments à archet dans le nord-ouest de la péninsule Ibérique ({XIIe} et {XIIIe} siècles)},
  number = {11},
  booktitle = {Instruments à cordes du Moyen Âge. Actes du colloque du Centre Européen pour la Recherche et l'Interprétation des Musiques Médiévales ({CERIMM})-Fondation Royaumont (1994)},
  publisher = {Créaphis},
  author = {Luengo, Francisco},
  editor = {Rault, Christian},
  year = {1999},
  keywords = {Cordophone (cordes frottées), Organologie},
  pages = {115--131}
}

@article{ baumann_streichinstrumente_1999,
  title = {Streichinstrumente des Mittelalters und der Renaissance : Bautechnische, dokumentarische und musikalische Hinweise zur Spieltechnik},
  volume = {24},
  issn = {1522-7464},
  shorttitle = {Streichinstrumente des Mittelalters und der Renaissance},
  abstract = {Probes into the acoustical possibilities of the Western bowed string instruments from their first appearance in the 10th c. to the development of the families of the viola da braccio and the viola da gamba. The sources for the actual knowledge of their construction are the few surviving original instruments and instrument parts; the few comments on tuning and use found in theoretical writings; information included in musical sources; and, mainly, iconography and art objects depicting these instruments. Related folk instruments, their playing techniques, and their traditional construction are also considered. The sound of these bowed instruments changes from a timbre with few formant frequencies for the heavier monoblock instruments to a much richer and broader frequency spectrum for the multipiece, thin-walled, glued, shape-stabilized later instruments. In addition to these shape- and material-dependent acoustical parameters, special means for tuning frequency response of the resonance body exist, including asymmetrical bridge position, various positions and shapes of bridge and soundholes, varying thickness of the belly, and the “classical” position of two soundholes, bridge, soundpost and bassbar. Many of these sound-determining elements can be analyzed in iconographical sources.},
  number = {1-2},
  journal = {Music in Art : international journal for music iconography},
  author = {Baumann, Dorothea},
  year = {1999},
  keywords = {(cordes, Cordophone, frottées)},
  pages = {29--40}
}

Probes into the acoustical possibilities of the Western bowed string instruments from their first appearance in the 10th c. to the development of the families of the viola da braccio and the viola da gamba. The sources for the actual knowledge of their construction are the few surviving original instruments and instrument parts; the few comments on tuning and use found in theoretical writings; information included in musical sources; and, mainly, iconography and art objects depicting these instruments. Related folk instruments, their playing techniques, and their traditional construction are also considered. The sound of these bowed instruments changes from a timbre with few formant frequencies for the heavier monoblock instruments to a much richer and broader frequency spectrum for the multipiece, thin-walled, glued, shape-stabilized later instruments. In addition to these shape- and material-dependent acoustical parameters, special means for tuning frequency response of the resonance body exist, including asymmetrical bridge position, various positions and shapes of bridge and soundholes, varying thickness of the belly, and the “classical” position of two soundholes, bridge, soundpost and bassbar. Many of these sound-determining elements can be analyzed in iconographical sources.

@incollection{ bec_les_1999,
  address = {Grâne},
  series = {Rencontres à Royaumont},
  title = {Les pièges des textes littéraires en organologie médiévale},
  number = {11},
  booktitle = {Instruments à cordes du Moyen Âge. Actes du colloque du Centre Européen pour la Recherche et l'Interprétation des Musiques Médiévales ({CERIMM})-Fondation Royaumont (1994)},
  publisher = {Créaphis},
  author = {Bec, Pierre},
  editor = {Rault, Christian},
  year = {1999},
  keywords = {Littérature, Organologie},
  pages = {17--28}
}

@article{ salmen_muse_1998,
  title = {The Muse Terpsichore in Pictures and Texts from the 14th to 18th Century},
  volume = {23},
  shorttitle = {Music Iconography},
  abstract = {The history of the reception and interpretation of the Muse Terpsichore was very complex. Since the Muse was not at all times regarded and identified with the dance, her attributes were often changed (book, scorll of music, small organ, lyre, harp, cetra or tambourine), evoking her different meanings.},
  number = {1-2},
  journal = {Music in Art : international journal for music iconography},
  author = {Salmen, Walter},
  year = {1998},
  keywords = {Danse, Iconographie, Organologie}
}

The history of the reception and interpretation of the Muse Terpsichore was very complex. Since the Muse was not at all times regarded and identified with the dance, her attributes were often changed (book, scorll of music, small organ, lyre, harp, cetra or tambourine), evoking her different meanings.

@article{ marchesin_les_1998,
  title = {Les jongleurs dans les psautiers du haut Moyen Âge : nouvelles hypothèses sur la symbolique de l'histrion médiéval},
  volume = {41},
  issn = {0007-9731},
  shorttitle = {Les jongleurs dans les psautiers du haut moyen âge},
  url = {http://www.persee.fr/web/revues/home/prescript/article/ccmed_0007-9731_1998_num_41_162_2717},
  doi = {10.3406/ccmed.1998.2717},
  number = {162},
  journal = {Cahiers de civilisation médiévale},
  author = {Marchesin, Isabelle},
  year = {1998},
  keywords = {Iconographie},
  pages = {127--139}
}

@book{ montagu_minstrels_1998,
  address = {Berkeley},
  series = {Fallen leaf reference books in music},
  title = {Minstrels and Angels : Carvings of Musicians in Medieval English Churches},
  isbn = {0-914913-40-9},
  shorttitle = {Minstrels and Angels},
  abstract = {Medieval stone and wooden carvings in English churches and cathedrals provide illustrations of real instruments used on a daily basis, rather than legendary instruments supposedly played by King David's court or of the higher court of heaven. About 120 carvings of instruments are identified and commented upon.},
  language = {anglais},
  number = {33},
  publisher = {Fallen Leaf press},
  author = {Montagu, Jeremy and Montagu, Gwen and Nicewonger, Charles Robert},
  year = {1998},
  keywords = {Iconographie, Sculpture monumentale}
}

Medieval stone and wooden carvings in English churches and cathedrals provide illustrations of real instruments used on a daily basis, rather than legendary instruments supposedly played by King David's court or of the higher court of heaven. About 120 carvings of instruments are identified and commented upon.

@book{ calvo-manzano_alfonso_1997,
  address = {Madrid},
  title = {Alfonso X el Sabio, impulsor del arte, la cultura y el humanismo. El arpa en la Edad Media española},
  isbn = {84-923296-0-2},
  shorttitle = {Alfonso X el Sabio, impulsor del arte, la cultura y el humanismo},
  abstract = {The following contributions are cited separately in {RILM}: María Rosa {CALVO}-{MANZANO}, Las arpas en la obra de Alfonso X el Sabio: Análisis organológico [The harps in the works of Alfonso X el Sabio: An organological analysis] ({RILM} [ref]1999-14307[/ref]), Las Cantigas y la posibilidad de incorporar el arpa a su interpretación [The possible use of harp in performing the Cantigas] ({RILM} [ref]1999-14308[/ref]), Los códices musicales alfonsíes: Piezas clave para trovadores y ministriles [The musical manuscripts of King Alfonso: Key pieces for troubadours and minstrels] ({RILM} [ref]1999-14309[/ref]); María Victoria {CHICO}, Las miniaturas de las Cantigas de Santa María y la música: Piezas claves para trovadores y ministriles [The miniatures of the Cantigas de Santa María and music: Key pieces for troubadours and minstrels] ({RILM} [ref]1999-14361[/ref]); José F. {FILGUEIRA} {VALVERDE}, Las cortes musicales y poéticas durante el reinado de Alfonso X [Music and poetry in the courts of Alfonso X] ({RILM} [ref]1999-14396[/ref]); John {GRIFFITHS}, Laúdes y guitarras en las Cantigas de Santa María [Lutes and guitars in the Cantigas de Santa María] ({RILM} [ref]1999-14437[/ref]); Begoña {LOLO} {HERRANZ}, La capilla real de música en la corte de Alfonso X el Sabio [The royal music chapel in the court of Alfonso X (el Sabio)] ({RILM} [ref]1999-14490[/ref]); José {LÓPEZ}-{CALO}, El arpa en la iglesia en España: Edad Media y Renacimiento [The harp in the Spanish church: The Middle Ages and the Renaissance] ({RILM} [ref]1999-14493[/ref]); María del Mar {LOZANO} {BARTOLOZZI}, José Julio {GARCÍA} {ARRANZ}, Aproximación a la iconografía del arpa en el arte románico español [An approach to harp iconography in Spanish Romanesque art] ({RILM} [ref]1999-14495[/ref]); Dora {NICOLÁS} {GÓMEZ}, Posibles alusiones a la edad media a través de la utilización iconográfica del arpa en las artes plásticas en el siglo {XIX} [Possible allusions to the Middle Ages through iconographic representations of the harp in the 19th century] ({RILM} [ref]1999-14791[/ref]); María Jesús {RUBIERA} {MATA}, La música hispano-árabe y la música hispana medieval [Hispano-Arabic music and medieval Spanish music] ({RILM} [ref]1999-14844[/ref]); Carlos {VILLANUEVA} {ABELAIRAS}, El arpa-salterio en España a través de las representaciones en piedra de los siglos {XII} y {XIII} [The harp-psalter in Spain as illustrated in 12th- and 13th-century sculptures] ({RILM} [ref]1999-15127[/ref]); Angelo {ZANIOL}, La flauta recta desde la época de Alfonso X el Sabio [The recorder since the times of Alfonso X (el Sabio)] ({RILM} [ref]1999-15135[/ref]).},
  publisher = {Asociación Arpista Ludovico ({ARLU})},
  editor = {Calvo-Manzano, María Rosa},
  year = {1997},
  keywords = {Cordophone (cordes pincées), Enluminure, Harpe, Iconographie, Organologie}
}

The following contributions are cited separately in RILM: María Rosa CALVO-MANZANO, Las arpas en la obra de Alfonso X el Sabio: Análisis organológico [The harps in the works of Alfonso X el Sabio: An organological analysis] (RILM [ref]1999-14307[/ref]), Las Cantigas y la posibilidad de incorporar el arpa a su interpretación [The possible use of harp in performing the Cantigas] (RILM [ref]1999-14308[/ref]), Los códices musicales alfonsíes: Piezas clave para trovadores y ministriles [The musical manuscripts of King Alfonso: Key pieces for troubadours and minstrels] (RILM [ref]1999-14309[/ref]); María Victoria CHICO, Las miniaturas de las Cantigas de Santa María y la música: Piezas claves para trovadores y ministriles [The miniatures of the Cantigas de Santa María and music: Key pieces for troubadours and minstrels] (RILM [ref]1999-14361[/ref]); José F. FILGUEIRA VALVERDE, Las cortes musicales y poéticas durante el reinado de Alfonso X [Music and poetry in the courts of Alfonso X] (RILM [ref]1999-14396[/ref]); John GRIFFITHS, Laúdes y guitarras en las Cantigas de Santa María [Lutes and guitars in the Cantigas de Santa María] (RILM [ref]1999-14437[/ref]); Begoña LOLO HERRANZ, La capilla real de música en la corte de Alfonso X el Sabio [The royal music chapel in the court of Alfonso X (el Sabio)] (RILM [ref]1999-14490[/ref]); José LÓPEZ-CALO, El arpa en la iglesia en España: Edad Media y Renacimiento [The harp in the Spanish church: The Middle Ages and the Renaissance] (RILM [ref]1999-14493[/ref]); María del Mar LOZANO BARTOLOZZI, José Julio GARCÍA ARRANZ, Aproximación a la iconografía del arpa en el arte románico español [An approach to harp iconography in Spanish Romanesque art] (RILM [ref]1999-14495[/ref]); Dora NICOLÁS GÓMEZ, Posibles alusiones a la edad media a través de la utilización iconográfica del arpa en las artes plásticas en el siglo XIX [Possible allusions to the Middle Ages through iconographic representations of the harp in the 19th century] (RILM [ref]1999-14791[/ref]); María Jesús RUBIERA MATA, La música hispano-árabe y la música hispana medieval [Hispano-Arabic music and medieval Spanish music] (RILM [ref]1999-14844[/ref]); Carlos VILLANUEVA ABELAIRAS, El arpa-salterio en España a través de las representaciones en piedra de los siglos XII y XIII [The harp-psalter in Spain as illustrated in 12th- and 13th-century sculptures] (RILM [ref]1999-15127[/ref]); Angelo ZANIOL, La flauta recta desde la época de Alfonso X el Sabio [The recorder since the times of Alfonso X (el Sabio)] (RILM [ref]1999-15135[/ref]).

@book{ brauchli_clavicordio_1997,
  address = {Magnano},
  title = {De clavicordio {III}. Proceedings of the 3rd International Clavichord Symposium (Magnano, 24-28 september 1997)},
  isbn = {8890026901 9788890026904},
  shorttitle = {De clavicordio {III}},
  language = {English and Italian.},
  publisher = {Musica Antiqua a Magnano},
  editor = {Brauchli, Bernard and Brauchli, Susan and Galazzo, Alberto},
  year = {1997},
  keywords = {Clavicorde, Cordophone (cordes pincées), Organologie}
}

@incollection{ page_fourteenth-century_1997,
  address = {Aldershot, Great Britain ; Brookfield, Vt.},
  series = {Variorum Reprints},
  title = {Fourteenth-Century Instruments and Tunings : A Treatise by Jean Vaillant ? (Berkeley, {MS} 744)},
  shorttitle = {Fourteenth-Century Instruments and Tunings},
  number = {{CS} 562},
  booktitle = {Music and Instruments of the Middle Ages : Studies on Texts and Performance},
  publisher = {Variorum},
  author = {Page, Christopher},
  year = {1997},
  keywords = {Cordophone, Organologie, Théorie musicale},
  pages = {17--35}
}

@article{ poplawska_string_1996,
  title = {String Instruments in Medieval Russia},
  volume = {21},
  abstract = {A survey of instruments in medieval Rus', based on iconographical and archaeological evidence: longitudinal, triangular, and symmetrical zithers, northern lyres, rebecs, fiddles, lyres, lutes, and harps.},
  language = {anglais},
  number = {2},
  journal = {{RIdIM}/{RCMI} newsletter},
  author = {Popławska, Dorota},
  year = {1996},
  keywords = {Archéologie, Iconographie, Organologie},
  pages = {63--70}
}

A survey of instruments in medieval Rus', based on iconographical and archaeological evidence: longitudinal, triangular, and symmetrical zithers, northern lyres, rebecs, fiddles, lyres, lutes, and harps.

@incollection{ zerbinatti_strumenti_1996,
  address = {Cavallermaggiore},
  series = {La Vie del medioevo},
  title = {Strumenti musicali : schede organologiche},
  shorttitle = {Strumenti musicali},
  abstract = {Descriptions of the medieval lyre, harp, psaltery, trumpet marine, hurdy-gurdy, rebec, fiddle, and bagpipe include a discussion the instrument's name and organological descriptions. In addition the iconographic and manuscript sources that present each instrument and the practical uses, acoustical characteristic, and functions of the instrument according to these sources are examined.},
  booktitle = {Musica peregrina. Presenze della musica medievale in Piemonte. Catalogo di una mostra itinerante},
  publisher = {Gribaudo},
  author = {Zerbinatti, Paolo},
  editor = {Bianco, Carla and Data, Isabella},
  year = {1996},
  keywords = {Aérophone, Cithare, Cordophone, Cornemuse, Harpe, Iconographie, Lyre, Organologie, Psaltérion, Rebec, Vielle à roue (organistrum et symphonia), Vièle},
  pages = {55--68}
}

Descriptions of the medieval lyre, harp, psaltery, trumpet marine, hurdy-gurdy, rebec, fiddle, and bagpipe include a discussion the instrument's name and organological descriptions. In addition the iconographic and manuscript sources that present each instrument and the practical uses, acoustical characteristic, and functions of the instrument according to these sources are examined.

@article{ boenig_anglo-saxon_1996,
  title = {The Anglo-Saxon Harp},
  volume = {71},
  journal = {Speculum},
  author = {Boenig, Robert},
  year = {1996},
  keywords = {Cordophone (cordes pincées), Harpe, Organologie},
  pages = {290--320}
}

@article{ ose_von_1996,
  title = {"Von Pfiff und Saitenspiel" : Musikinstrumente im Narrenschiff des Sebastian Brant},
  volume = {13},
  issn = {0177-5944},
  shorttitle = {"Von Pfiff und Saitenspiel"},
  abstract = {The literature of fools was born in 1494 when Sebastian Brant, a professor of law and poetry at the Universität Basel, published the book Das Narrenschiff, which describes the various ways people can go insane and the tools that are needed to become a fool. Bagpipes are duly associated with madness whereas the lute and harp represent wisdom, an association that dates back to the Middle Ages when string instruments symbolized divine harmony., [unedited non–English abstract received by {RILM}] Die Geburtsstunde der Narrenliteratur scheint in das Jahr 1494 zu fallen, als ein Professor für Jura und Poesie der Universität Basel namens Sebastian Brant eine Schrift unter dem Titel vff die Vasenaht veröffentlichte. In diesem Werk werden nicht nur die verschiedenen Möglichkeiten menschlicher Entgleisungen vorgeführt, sondern auch Instrumente dem Narrentum zugeordnet. Demnach verbindet sich das Spielen der Sackpfeife mit Narrheit, während Laute und Harfe im Zusammenhang mit Weisheit zu stehen scheinen. Die Gründe der Zuordnung sind offensichtlich in der mittelalterlichen Tradition beheimatet, wonach die Saiteninstrumente Harfe und Laute als Abbild göttlicher Harmonie galten.},
  number = {112},
  journal = {Concerto : das Magazin für Alte Musik},
  author = {Ose, Karsten Erik},
  year = {1996},
  keywords = {Aérophone, Cordophone, Cornemuse, Littérature, Organologie},
  pages = {18--20}
}

The literature of fools was born in 1494 when Sebastian Brant, a professor of law and poetry at the Universität Basel, published the book Das Narrenschiff, which describes the various ways people can go insane and the tools that are needed to become a fool. Bagpipes are duly associated with madness whereas the lute and harp represent wisdom, an association that dates back to the Middle Ages when string instruments symbolized divine harmony., [unedited non–English abstract received by RILM] Die Geburtsstunde der Narrenliteratur scheint in das Jahr 1494 zu fallen, als ein Professor für Jura und Poesie der Universität Basel namens Sebastian Brant eine Schrift unter dem Titel vff die Vasenaht veröffentlichte. In diesem Werk werden nicht nur die verschiedenen Möglichkeiten menschlicher Entgleisungen vorgeführt, sondern auch Instrumente dem Narrentum zugeordnet. Demnach verbindet sich das Spielen der Sackpfeife mit Narrheit, während Laute und Harfe im Zusammenhang mit Weisheit zu stehen scheinen. Die Gründe der Zuordnung sind offensichtlich in der mittelalterlichen Tradition beheimatet, wonach die Saiteninstrumente Harfe und Laute als Abbild göttlicher Harmonie galten.

@article{ maddocks_means_1996,
  title = {The Means of Early Music},
  issn = {0966-7180},
  abstract = {A brief history and description of important instruments of the Middle Ages and Baroque, including the lute, zither, baryton, harpsichord, viol, hurdy-gurdy, harp, pipe and tabor, nakers, trumpet, sackbut, chalumeau, and recorder.},
  journal = {{BBC} music magazine. Special issue : Exploring early music},
  author = {Maddocks, Fiona and Reeve, Antonia},
  year = {1996},
  keywords = {Organologie},
  pages = {18--19}
}

A brief history and description of important instruments of the Middle Ages and Baroque, including the lute, zither, baryton, harpsichord, viol, hurdy-gurdy, harp, pipe and tabor, nakers, trumpet, sackbut, chalumeau, and recorder.

@article{ matousek_regional_1994,
  title = {Regional Signs of Medieval Musical Instruments},
  volume = {12},
  abstract = {Many European musical instruments of the Middle Ages were influenced by eastern styles. Arabic ornaments are seen on many soundboard decorations of necked chordophones in southern Europe; this Arab iconographic influence is not found elsewhere in medieval Europe. There are two types of medieval harp resonators. One type is flat, narrower at the top than at the bottom, and was used throughout medieval Europe. The other type, called the Atlantic harp, is strikingly wide at the top, and was found exclusively in iconographic sources from England and Francophone areas. European psaltery players held their instruments with the strings horizontal. In Czech illustrations of the 14th and 15th c., the player almost always held the psaltery so that the strings were vertical. The holding position of a psaltery points to Czech origin.},
  language = {anglais},
  journal = {Hamburger Jahrbuch für Musikwissenschaft},
  author = {Matoušek, Lukáš},
  year = {1994},
  keywords = {Cithare, Cordophone (cordes pincées), Harpe, Iconographie, Organologie},
  pages = {207--212}
}

Many European musical instruments of the Middle Ages were influenced by eastern styles. Arabic ornaments are seen on many soundboard decorations of necked chordophones in southern Europe; this Arab iconographic influence is not found elsewhere in medieval Europe. There are two types of medieval harp resonators. One type is flat, narrower at the top than at the bottom, and was used throughout medieval Europe. The other type, called the Atlantic harp, is strikingly wide at the top, and was found exclusively in iconographic sources from England and Francophone areas. European psaltery players held their instruments with the strings horizontal. In Czech illustrations of the 14th and 15th c., the player almost always held the psaltery so that the strings were vertical. The holding position of a psaltery points to Czech origin.

@incollection{ kneihs_blockflote_1994,
  address = {Kassel},
  series = {Handbuch der Musikpädagogik},
  title = {Blockflöte},
  abstract = {Discusses the following topics: the revival of the recorder in the 20th c.; the history of the instrument from the Middle Ages on; the recorder literature (chronological survey); playing techniques; and recorder pedagogy.},
  number = {3},
  booktitle = {Instrumental- und Vokalpädagogik, t. 2 : Einzelfächer},
  publisher = {Bärenreiter},
  author = {Kneihs, Hans Maria},
  editor = {Richter, Christoph},
  year = {1994},
  keywords = {Aérophone, Flûte, Organologie},
  pages = {335--354}
}

Discusses the following topics: the revival of the recorder in the 20th c.; the history of the instrument from the Middle Ages on; the recorder literature (chronological survey); playing techniques; and recorder pedagogy.

@incollection{ zak_singen_1993,
  series = {Musikwissenschaftliche Publikationen : Hochschule für Musik und Darstellende Kunst Frankfurt am Main},
  title = {Singen unde seitenspil},
  abstract = {Anglais : Examines the practice of instrumental accompaniment of singers in the German Middle Ages, drawing on treatises and literary descriptions. Allemand : Untersucht wird die Verwendung von Instrumenten in der mittelalterlichen Musik in Deutschland. Dazu werden nicht nur mittelalterliche Traktate sondern auch poetische Texte herangezogen.},
  number = {2},
  booktitle = {De musica et cantu : Studien zur Geschichte der Kirchenmusik und der Oper-Helmut Hucke zum 60. Geburtstag},
  author = {Žak, Sabine},
  editor = {Cahn, Peter and Heimer, Ann-Katrin},
  year = {1993},
  keywords = {Cordophone, Organologie, Performance},
  pages = {337--369}
}

Anglais : Examines the practice of instrumental accompaniment of singers in the German Middle Ages, drawing on treatises and literary descriptions. Allemand : Untersucht wird die Verwendung von Instrumenten in der mittelalterlichen Musik in Deutschland. Dazu werden nicht nur mittelalterliche Traktate sondern auch poetische Texte herangezogen.

@incollection{ rault_les_1991,
  address = {Santiago de Compostela},
  series = {Colección de difusión cultural},
  title = {Les instruments du porche de la Gloire : fantaisie ou réalité ?},
  language = {français},
  number = {6},
  publisher = {Xunta de Galicia},
  author = {Rault, Christian},
  year = {1991},
  keywords = {Iconographie, Organologie, Sculpture monumentale},
  pages = {427--438}
}

@phdthesis{ teviotdale_cotton_1991,
  address = {Chapell Hill},
  title = {The Cotton Troper (London, British Library, Cotton ms. Caligula A. {XIV}, ff. 1-36) : a Study of an Illustrated English Troper of the Eleventh Century},
  school = {University of North Carolina},
  author = {Teviotdale, Elizabeth C.},
  year = {1991},
  keywords = {Enluminure, Iconographie}
}

@article{ meyer_synemmenis_1990,
  title = {Le De synemmenis et sa tradition. Contribution à l'étude des mesures de monocorde vers la fin du {XIIIe} siècle},
  volume = {76},
  issn = {0035-1601},
  shorttitle = {Le De synemmenis et sa tradition},
  language = {français},
  number = {1},
  journal = {Revue de musicologie},
  author = {Meyer, Christian},
  year = {1990},
  keywords = {Cithare, Cordophone (cordes pincées), Monocorde, Organologie, Théorie musicale},
  pages = {83--94}
}

@incollection{ brown_middle_1989,
  title = {The Middle Ages : Instruments},
  shorttitle = {The Middle Ages},
  abstract = {A survey of performance practice.},
  booktitle = {Performance Practice : Music before 1600},
  publisher = {Macmillan Basingstoke},
  author = {Brown, Howard Mayer},
  editor = {Sadie, Stanley and Brown, Howard Mayer},
  year = {1989},
  keywords = {Organologie, Performance},
  pages = {15--36}
}

A survey of performance practice.

@book{ van_deusen_harp_1989,
  address = {Lewiston},
  series = {Studies in the history and interpretation of music},
  title = {The Harp and the Soul : essays in medieval music},
  isbn = {0-88946-429-4},
  shorttitle = {The harp and the soul},
  number = {3},
  publisher = {E. Mellen Press},
  author = {Van Deusen, Nancy},
  year = {1989},
  keywords = {Cordophone (cordes pincées), Harpe, Organologie}
}

@article{ renard_a_1989,
  title = {À propos de la "cithare de David"},
  volume = {45},
  abstract = {Literary and artistic representations of David},
  number = {1-2},
  journal = {Revue du Moyen Âge latin},
  author = {Renard, Michel},
  year = {1989},
  keywords = {Bible, Cithare, Cordophone (cordes pincées), Organologie},
  pages = {9--12}
}

Literary and artistic representations of David

@incollection{ colette_limage_1988,
  address = {Genève},
  title = {De l’image du chant au Moyen Âge},
  booktitle = {Musiques, signes, images. Liber amicorum François Lesure},
  publisher = {Minkoff},
  author = {Colette, Marie-Noëlle},
  editor = {Fauquet, Joël-Marie},
  year = {1988},
  keywords = {Chant, Iconographie},
  pages = {75--81}
}

@article{ vilsteren_lyre-tailpiece_1988,
  title = {A Lyre-Tailpiece from the Terps in Holland},
  volume = {2},
  issn = {0935-7319},
  abstract = {A description of a flat piece of bone, sawed from a cattle metacarpus or metatarsus, which is identified as a part of a lyre from the early Middle Ages. The piece was found in 1901 in the mound-village of Teerns, south of Leeuwarden, and is currently in the Fries Museum, Leeuwarden. The front of the piece is smoothly polished and features incised ornaments in the form of ring-and-dot motives. One end has two large and the other six smaller perforations.},
  language = {anglais},
  number = {2},
  journal = {Archaeologia musicalis},
  author = {Vilsteren, V.T. van},
  year = {1988},
  keywords = {Archéologie, Cordophone (cordes pincées), Lyre, Organologie},
  pages = {97--98}
}

A description of a flat piece of bone, sawed from a cattle metacarpus or metatarsus, which is identified as a part of a lyre from the early Middle Ages. The piece was found in 1901 in the mound-village of Teerns, south of Leeuwarden, and is currently in the Fries Museum, Leeuwarden. The front of the piece is smoothly polished and features incised ornaments in the form of ring-and-dot motives. One end has two large and the other six smaller perforations.

@incollection{ reckow_pictoribus_1986,
  address = {Berlin-New York},
  title = {Pictoribus atque poetis licet incipere quod volunt. Interdisziplinäre Voraussetzungen für das Verständnis mittelalterlicher Musik},
  booktitle = {Zusammenhänge, Einflüsse, Wirkungen. Kongressakten zum ersten Symposium des Mediävistenverbandes in Tübingen (1984)},
  publisher = {W. de Gruyter},
  author = {Reckow, Fritz},
  year = {1986},
  keywords = {Iconographie},
  pages = {117--129}
}

@article{ diettrich_ikonographische_1986,
  title = {Ikonographische Darstellungen der Lyra als Sternbild in mittelalterlichen Handschriften der Osterreichischen Nationalbibliothek zu Wien},
  volume = {37},
  issn = {0930-9578},
  abstract = {Examination of the differences among the eight known representations and descriptions of the lyra as a constellation that are preserved in astrological codices. Particular attention is given to information contained in the illustrations but not found in the texts.},
  journal = {Studien zur Musikwissenschaft : Beihefte der Denkmäler der Tonkunst in Österreich},
  author = {Diettrich, Eva},
  year = {1986},
  keywords = {Cordophone (cordes pincées), Enluminure, Iconographie, Lyre},
  pages = {7--12}
}

Examination of the differences among the eight known representations and descriptions of the lyra as a constellation that are preserved in astrological codices. Particular attention is given to information contained in the illustrations but not found in the texts.

@article{ ree_bernard_recontruccion_1986,
  title = {Recontrucción de tres salterios ibéricos : canon entero, medio canon y ala entera, con un compendio sobre salterios en general y advertencias para adaptar al salterio melodías medievales},
  volume = {41},
  issn = {0211-3538},
  shorttitle = {Recontrucción de tres salterios ibéricos},
  abstract = {A treatise on psalteries focusing on the Iberian type and including a description of the tuning systems, construction, history, and performance problems. Includes melodies adapted for diatonic psalteries such as the cantiga and the Ajuda types.},
  language = {espagnol},
  journal = {Anuario musical : revista de musicología del {CSIC}},
  author = {Ree Bernard, Nelly van},
  year = {1986},
  keywords = {Cithare, Cordophone (cordes pincées), Organologie, Psaltérion},
  pages = {17--46}
}

A treatise on psalteries focusing on the Iberian type and including a description of the tuning systems, construction, history, and performance problems. Includes melodies adapted for diatonic psalteries such as the cantiga and the Ajuda types.

@article{ chatillon_quelques_1986,
  title = {Quelques mots sur la cithare de David},
  volume = {42},
  abstract = {Described in the Songe de Vergier},
  number = {1-2},
  journal = {Revue du Moyen Âge latin},
  author = {Châtillon, François},
  year = {1986},
  keywords = {Cithare, Cordophone (cordes pincées), Littérature, Organologie},
  pages = {33--35}
}

Described in the Songe de Vergier

@book{ rault_organistrum_1985,
  address = {Paris},
  series = {Collection des mélanges de la bibliothèque de la Sorbonne},
  title = {L'organistrum ou l'instrument des premières polyphonies écrites occidentales : étude organologique, iconographie},
  isbn = {9782905053121},
  publisher = {Aux Amateurs de livres},
  author = {Rault, Christian},
  year = {1985},
  keywords = {Cordophone, Organologie, Vielle à roue (organistrum et symphonia)}
}

@article{ ehlich_zur_1984,
  title = {Zur Ikonographie der Querflöte im Mittelalter},
  volume = {8},
  journal = {Basler Jahrbuch für historische Musikpraxis},
  author = {Ehlich, Liane},
  year = {1984},
  keywords = {Aérophone, Flûte, Iconographie, Organologie},
  pages = {197--211}
}

@book{ sadie_new_1984,
  address = {London-New York},
  title = {The New Grove Dictionary of Musical Instruments : P to Z},
  volume = {3},
  isbn = {0-333-37878-4},
  language = {anglais},
  publisher = {Macmillan-Grove's dictionaries of music},
  editor = {Sadie, Stanley},
  year = {1984},
  keywords = {Organologie}
}

@article{ brown_st._1984,
  title = {St. Augustine, Lady Music, and the Gittern in Fourteenth-Century Italy},
  volume = {38},
  journal = {Musica Disciplina},
  author = {Brown, Howard Mayer},
  year = {1984},
  keywords = {Cordophone (cordes pincées), Guiterne, Organologie},
  pages = {25--65}
}

@phdthesis{ ravenel_vieles_1983,
  title = {Vièles à archet et rebecs en Europe au Moyen Âge (fin Xe siècle-début {XVIe} siècle)},
  school = {Université de Strasbourg},
  author = {Ravenel, Bernard},
  year = {1983},
  keywords = {Cordophone (cordes frottées), Organologie, Rebec, Vièle}
}

@book{ lopez-calo_musica_1982,
  address = {La Coruña},
  title = {La música medieval en Galicia},
  isbn = {84-8572-815-7},
  abstract = {A comprehensive survey of chant {MS} sources, instrument iconography, and performance practice from the standpoint of incorporating the music into today's concert repertoire. {MSS} examined include the Liber horarum of Fernando I of Castile and León (E-{SCu} res.5, 1058), the Codex Calixtinus (E-{SC}), the breviary (12th-14th c.) of the Catedral de Lugo (E-{LUc}), and the Vindel {MS} ({US}-{NYpm} M.979), with the cantigas de amigo of Martin Codax. Iconographic discussion focuses on the sculptures by Mateo de Compostela the Pórtico de Gloria of the cathedral of Santiago de Compostela, of which color reproductions are provided. Transcriptions are provided of polyphonic music from the Codex Calixtinus, and the accompanying sound recording features music from this and compositions by Codax with experimental reproductions of the original instruments.},
  publisher = {Fundación Pedro Barrié de la Maza},
  author = {López-Calo, José and Martínez, Constantino},
  year = {1982},
  keywords = {Enluminure, Iconographie, Organologie, Performance}
}

A comprehensive survey of chant MS sources, instrument iconography, and performance practice from the standpoint of incorporating the music into today's concert repertoire. MSS examined include the Liber horarum of Fernando I of Castile and León (E-SCu res.5, 1058), the Codex Calixtinus (E-SC), the breviary (12th-14th c.) of the Catedral de Lugo (E-LUc), and the Vindel MS (US-NYpm M.979), with the cantigas de amigo of Martin Codax. Iconographic discussion focuses on the sculptures by Mateo de Compostela the Pórtico de Gloria of the cathedral of Santiago de Compostela, of which color reproductions are provided. Transcriptions are provided of polyphonic music from the Codex Calixtinus, and the accompanying sound recording features music from this and compositions by Codax with experimental reproductions of the original instruments.

@incollection{ brown_gentile_1981,
  address = {Kassel-Philadelphie},
  title = {On Gentile Bellini's Procession in the Piazza San Marco (1496)},
  language = {anglais},
  booktitle = {International Musicological Society. Report of the Twelfth Congress (Berkeley, 1977)},
  publisher = {Bärenreiter-American Musicological Society},
  author = {Brown, Howard Mayer},
  editor = {Heartz, Daniel and Wade, Bonnie},
  year = {1981},
  keywords = {Iconographie, Liturgie, Peinture},
  pages = {649--658}
}

@article{ page_fourteenth-century_1980,
  series = {Variorum Reprints},
  title = {Fourteenth-Century Instruments and Tunings : a Treatise by Jean Vaillant ? (Berkeley, {MS} 744)},
  volume = {33},
  shorttitle = {Fourteenth-Century Instruments and Tunings},
  language = {anglais},
  journal = {The Galpin Society journal},
  author = {Page, Christopher},
  year = {1980},
  keywords = {Cordophone, Organologie, Théorie musicale},
  pages = {17--35}
}

@incollection{ coussa_quelques_1980,
  address = {Amiens},
  title = {De quelques emprunts lexicaux faits à l'arabe : les instruments de musique},
  shorttitle = {De quelques emprunts lexicaux faits à l'arabe},
  language = {français},
  booktitle = {Musique, littérature et société au Moyen Âge},
  publisher = {H. Champion},
  author = {Coussa, Zaki},
  editor = {Buschinger, Danielle and Crépin, André},
  year = {1980},
  pages = {59--71}
}

@article{ page_string-instrument_1978,
  title = {String-Instrument Making in Medieval England and Some Oxford Harpmakers 1380-1466},
  volume = {31},
  issn = {0072-0127},
  url = {http://www.jstor.org/stable/841190},
  doi = {10.2307/841190},
  journal = {The Galpin Society Journal},
  author = {Page, Christopher},
  year = {1978},
  note = {{ArticleType}: research-article / Full publication date: May, 1978 / Copyright © 1978 Galpin Society},
  keywords = {Cordophone, Organologie},
  pages = {44--67}
}

@article{ page_early_1978,
  title = {Early 15th-Century Instruments in Jean de Gerson's Tractatus de Canticis},
  volume = {6},
  issn = {0306-1078},
  url = {http://www.jstor.org/stable/3125803},
  number = {3},
  journal = {Early Music},
  author = {Page, Christopher},
  year = {1978},
  note = {{ArticleType}: research-article / Full publication date: Jul., 1978 / Copyright © 1978 Oxford University Press},
  keywords = {Organologie},
  pages = {339--349}
}

@phdthesis{ foster_iconology_1977,
  title = {The Iconology of Musical Instruments and Musical Performance in Thirteenth-Century French Manuscript Illuminations},
  school = {City University of New York},
  author = {Foster, Genette},
  year = {1977},
  keywords = {Enluminure, Iconographie, Organologie}
}

@article{ ravenel_liconographie_1977,
  title = {De l’iconographie musicale à la reconstitution des vièles et des rebecs},
  volume = {22},
  journal = {Musique ancienne},
  author = {Ravenel, Bernard},
  year = {1977},
  keywords = {Cordophone (cordes frottées), Iconographie, Organologie, Rebec, Vièle},
  pages = {51--84}
}

@book{ blades_early_1976,
  address = {London},
  series = {Early music series},
  title = {Early Percussion Instruments : From the Middle Ages to the Baroque},
  isbn = {0-19-323176-X},
  shorttitle = {Early Percussion Instruments},
  abstract = {Presents the history of early percussion instruments, including nakers, timpani, tabor, side drum, triangle, tambourine, cymbals, clappers, castanets, tong cymbals, rattles, Turkish crescent (jingling johnnie), friction drum, dulcimer, xylophone, and chime bells. The use of these instruments in the Renaissance and Baroque periods is discussed, and suggestions for the performance of early music and the care of instruments are included.},
  publisher = {Oxford University Press},
  author = {Blades, James and Montagu, Jeremy},
  year = {1976}
}

Presents the history of early percussion instruments, including nakers, timpani, tabor, side drum, triangle, tambourine, cymbals, clappers, castanets, tong cymbals, rattles, Turkish crescent (jingling johnnie), friction drum, dulcimer, xylophone, and chime bells. The use of these instruments in the Renaissance and Baroque periods is discussed, and suggestions for the performance of early music and the care of instruments are included.

@incollection{ frank_neue_1975,
  address = {Wien},
  series = {Schriften zur Volksmusik},
  title = {Die neue Fidel : ein altes Volksmusikinstrument ?},
  shorttitle = {Die neue Fidel},
  abstract = {Discusses the historical antecedents in construction, function, and playing position, of the neue Fidel (modern fiddle) developed by the author, a six-string instrument with fretted fingerboard, tuned in fourths, comparable in size and shape to the medieval fiddle.},
  number = {3},
  booktitle = {Die Geige in der europäischen Volksmusik. Bericht über das 1. Seminar für europäische Musikethnologie (St. Pölten, 1971)},
  publisher = {A. Schendl},
  author = {Frank, Karl},
  editor = {Deutsch, Walter and Haid, Gerlinde},
  year = {1975},
  keywords = {Cordophone (cordes frottées), Organologie, Vièle},
  pages = {180--183}
}

Discusses the historical antecedents in construction, function, and playing position, of the neue Fidel (modern fiddle) developed by the author, a six-string instrument with fretted fingerboard, tuned in fourths, comparable in size and shape to the medieval fiddle.

@book{ marcuse_survey_1975,
  address = {New York},
  title = {A Survey of Musical Instruments},
  isbn = {0060127767 9780060127763},
  abstract = {For librarians and for music lovers.},
  language = {English},
  publisher = {Harper \& Row},
  author = {Marcuse, Sibyl},
  year = {1975},
  keywords = {Organologie}
}

For librarians and for music lovers.

@incollection{ seebass_bedeutung_1973,
  address = {Utrecht},
  title = {Die Bedeutung des Utrechter Psalters für die Musikgeschichte},
  booktitle = {Kunst- en muziekhistorische bijdragen tot de bestudering van het Utrechts Psalterium},
  publisher = {Haentjens Dekker \& Gumbert},
  author = {Seebass, Tilman},
  editor = {Seebass, Tilman and Engelbregt, Jacobus H.A.},
  year = {1973},
  keywords = {Enluminure, Iconographie, Psautier},
  pages = {33--48}
}

@incollection{ bridgman_les_1973,
  address = {Todi},
  series = {Convegni del Centro di studi sulla spiritualità medioevale},
  title = {Les thèmes musicaux de l’Apocalypse, leur signification spirituelle et leur interprétation dans les miniatures},
  number = {13},
  booktitle = {Musica e arte figurativa nei secoli X-{XII}},
  publisher = {Accademia Tudertina},
  author = {Bridgman, Nanie},
  year = {1973},
  keywords = {Bible, Enluminure, Iconographie},
  pages = {197--222}
}

@book{ hickmann_musica_1971,
  address = {Baden-Baden},
  series = {Sammlung Musikwissenschaftlicher Abhandlungen},
  title = {Musica instrumentalis. Studien zur Klassifikation des Musikinstrumentariums im Mittelalter},
  number = {55},
  publisher = {V. Koerner},
  author = {Hickmann, Ellen},
  year = {1971},
  keywords = {Organologie}
}

@incollection{ verdier_liconographie_1969,
  title = {L’iconographie des arts libéraux dans l’art du Moyen Âge jusqu’à la fin du quinzième siècle},
  booktitle = {Arts libéraux et philosophie au Moyen Âge. Actes du 4e congrès international de philosophie médiévale (Montréal, 1967)},
  publisher = {Montréal},
  author = {Verdier, Philippe},
  year = {1969},
  keywords = {Arts libéraux (personnifications), Iconographie},
  pages = {305--332}
}

@book{ tolbecque_art_1969,
  address = {New York},
  edition = {1re éd. Niort, 1903},
  title = {L'art du luthier},
  publisher = {Broude Brothers},
  author = {Tolbecque, Auguste},
  year = {1969},
  keywords = {Cordophone}
}

@incollection{ ghizi_angel_1966,
  address = {New York},
  title = {An Angel Concert in a Trecento Sienese Fresco},
  booktitle = {Aspects of Medieval and Renaissance Music : a birthday offering to Gustave Reese},
  publisher = {W.W. Norton},
  author = {Ghizi, Frederico},
  editor = {LaRue, Jan},
  year = {1966},
  keywords = {Iconographie, Peinture},
  pages = {308--313}
}

@book{ hopkins_organ_1965,
  address = {Hilversum},
  edition = {3e éd., 1re éd. London, R. Cocks, 1887},
  title = {The Organ : its History and Construction},
  publisher = {F. Knuf},
  author = {Hopkins, Edward John and Rimbault, Edward Francis},
  year = {1965},
  keywords = {Aérophone, Organologie, Orgue}
}

@book{ galpin_old_1965,
  address = {New York},
  title = {Old English Instruments of Music : their History and Character},
  language = {English},
  publisher = {Barnes \& Noble},
  author = {Galpin, Francis W.},
  year = {1965},
  keywords = {Organologie}
}

@incollection{ chailley_monocorde_1963,
  address = {Amsterdam},
  title = {Le monocorde et la théorie musicale},
  copyright = {Catalogue en ligne de la Bibliothèque nationale de France},
  booktitle = {Organicae voces. Festschrift Joseph Smits van Waesberghe angeboten anlässlich seines 60. Geburtstages (18 April 1961)},
  publisher = {Instituut voor middeleeuwse muziekwetenschap},
  author = {Chailley, Jacques},
  year = {1963},
  note = {[Mélanges Smits van Waesberghe (Joseph)]},
  keywords = {Cordophone, Monocorde, Théorie musicale},
  pages = {11--19}
}

@article{ bittermann_harun_1929,
  title = {Harun Ar-Raschid's Gift of an Organ to Charlemagne},
  volume = {4},
  journal = {Speculum},
  author = {Bittermann, Helen Robbins},
  year = {1929},
  keywords = {Aérophone, Organologie, Orgue},
  pages = {214--217}
}

@book{ buhle_musikalischen_1903,
  address = {Leipzig},
  edition = {rééd. 1972},
  title = {Die musikalischen Instrumente in den Miniaturen des frühen Mittelalters : ein Beitrag zur Geschichte der Musikinstrumente, t. 1 : Die Blasinstrumente},
  publisher = {Breitkopf-Härtel},
  author = {Buhle, Edward},
  year = {1903},
  keywords = {Aérophone, Enluminure, Iconographie, Organologie}
}

@book{ fleury_les_1882,
  address = {Laon},
  title = {Les instruments de musique sur les monuments du Moyen Âge du département de l'Aisne : essai d'un chapitre de l'histoire de la musique dans les âges},
  publisher = {A. Cortilliot},
  author = {Fleury, Édouard},
  year = {1882},
  keywords = {Iconographie, Organologie}
}

@book{ marchesin_les_????,
  title = {Les formes de la notation musicale. La mise en voir du Verbe dans les manuscrits latins, hébraïques et grecs ({VIIIe}-{XIe} siècles). Actes de la journée d'étude organisée par l'Université Paris {VII}, {DFKG} et l'Université Paris-Sorbonne (Paris, 12-13 novembre 2009)},
  publisher = {à paraître},
  editor = {Marchesin, Isabelle and Anger, Violaine}
}

@book{ poidevin_archets_????,
  title = {Archets},
  url = {http://www.archets-poidevin.com},
  author = {Poidevin, Nelly},
  keywords = {Archet, Cordophone (cordes frottées), Organologie}
}

@book{ moser_reconstitution_????,
  title = {La Reconstitution de la vièle de Miègeville},
  url = {http://apemutam.instrumentsmedievaux.org/miegeville.pdf},
  author = {Moser, François},
  keywords = {Cordophone (cordes frottées), Iconographie, Organologie, Sculpture monumentale, Vièle}
}