Together with Pendragon Press (Hillsdale, NY), the Center for the Study of Free-Reed Instruments published The Free-Reed Journal, 4 volumes (1999-1903). It’s contents covered a wide range of free-reed instruments from virtually all imaginable angles. Copies of the journal may be ordered from Pendragon Press, Post Office Box 190, Hillsdale, NY 12529 – via Email: firstname.lastname@example.org. The contents of the four volumes, excluding reviews of books, music, recordings; music supplements; and recordings: Vol. 1 (1999) Stephen Chambers, “Louis Lachenal: ‘Engineer and Concertina Manufacturer,” 7-18. Robert Young McMahan, “Classical Music for Accordion by African-American Composers: The Accordion Works of William Grant Still (1895-1978) and Ronald Roxbury (1946-1986), 19-37. Terry E Miller, “The Khaen, Northeast Thailand’s Free-Reed Mouth Organ in the Age of Modernization,” 38-47. Peter Manuel, “The Harmonium in Indian and Indo-Caribbean Music: From Colonia Tool to Nationalist Icon,” 48-59. Jared Snyder: “Rusted Reeds: A Short Survey of Historic and Field Recordings of Free Reeds from Africa,” 60-76. Vol. 2 (2000) Maria Dunkel, “Buttons and Codes: Ideographies for Bandoneon and Concertina as Examples of Alternative Notational Systems in Nineteenth-Century Germany,” 5-18. Ewald Henseler and Satoshi Murao, “Some Notes on the Suifûkin: A Reed-Pipe in Late Meiji- Era Japan,” 19-24. Cathy Ragland, “’With his Accordion in his Hand’: The Impact of the Accordion during the Formative Years of Modern Texas-Mexican Conjunto Music, 1930s-1950s,” 25-33. James P. Cottingham, “The Acoustics of the American Reed Organ,” 35-40. Allan W. Atlas, “Concertinas 1998-1999: A (Brief) Review-Essay,” 41-55. Vol. 3. (2001) Neil Wayne, Margaret Birley, Robert Gaskins, “A Wheatstone Twelve-Sided ‘Edeophone’ Concertina with Pre-MacCann Chromatic Duet Fingering,” 3-17. Jared Snyder, “Breeze in the Carolinas: The African American Accordionists of the Upper South,” 19-45. Christopher Adler, “Drone Placement and Fingering in Traditional and Contemporary Music for Khaen,” 47-54 Peter C. Muir, ”’Looks Like a Cash Register and Sounds Worse’: The Deiro Brothers and the Rise of the Piano Accordion in American Culture 1908-1930,” 55-79 Richard Carlin, “The Fayre Four Sisters: Concertina Virtuosi,” 79-88. Vol. 4 (2003) Peter C. Muir, “The Deiro Recordings: Italian-Amer4ican and Other Ethnic Issues, 1911-1934, with a Complete Discography of the Recordings of Guido and Pietro Deiro,” 5-48. James J. Periconi, Vergogna e Risorgimento: The Secret Life of an Italian-American Accordionist,” 49-58. William Schimmel, “Excelsior! The Best and Nothing but the Best,” 59-69. Allan W. Atlas, “Giulio Regondi: Two Recently Discovered Letters,” 70-84. Randall C. Merris, “Instruction Manuals for the English, Anglo, and Duet Concertina: An Annotated Bibliography,” 85-118. Stefan Gruschka, “The Harmonium: A Select And Annotated Bibliography of the Recent Literature,” 119-34. Robert Young McMahan, “A Significant Concert of Contemporary Music for Accordion and Cello: A Review-Essay,” 135-39.