ABSTRACT
This chapter deals with sources that discuss the construction and design of historical and modern recorders-that is, the properties of the instruments themselves. It includes such special topics as instruments for the disabled, English versus German fingering, electronic recorders, modernizing the recorder, the bell key, and woods. For information on the making and manufacture of recorders, see chapter 14. 539. Blezinger, Stephan. “Ganassi-Kynseker-Bressan-Denner: Bauliche
Unterschiede und ihre Auswirkungen auf die musikalische Praxis” [Ganassi, Kynseker, Bressan, Denner: constructional differences and their consequences for musical practice]. In 3. Internationales Blockflöten Symposium Karlsruhe, ERTA Kongress 1995, Vorträge und Dokumentation [unnumbered pages]. Reprinted in Tibia 23, no. 1 (1998): 77-78; 23, no. 2 (1998): 158-59; 23, no. 4 (1998): 340-41. For readers who may justifiably be puzzled about the differences among the early types
of recorders and why they differ considerably in tone, Blezinger provides a helpful survey. He begins with the basic acoustic principles, emphasizing the importance of the bore and windway size. Then he discusses most of the important early types: “Ganassi” (briefly compared with the other type of Renaissance instrument, which he calls “consort recorder”), early Baroque (Kynseker, “van Eyck”), and late Baroque (Bressan, Denner). 540. Bolton, Philippe. “La flûte à bec” [The recorder]. Flûte à bec & instruments anciens,
no. 13/14 (December 1984/March 1985): 2-3. Copies obtainable from the author at Le Grand Portail, F-84570 Villes-sur-Auzon, France. Defines “recorder” (fixed embouchure consisting of windway plus lip; thumb-hole for
octaving) and describes its basic acoustics and tone production. Summarizes the differences among Renaissance, Ganassi, and Baroque recorders. Looks forward to collaboration between musicians and makers to produce suitable instruments for our own time. 541. Dessy, Raymond, and Lee Dessy. “The Principles of Recorder Design Explained.”
