The Free-Reed Journal

Together with Pendragon Press (Hillsdale, NY), the Center for the Study of Free-Reed Instruments published The Free-Reed Journal, 4 volumes (1999-2003).  Its contents covered a wide range of free-reed instruments from virtually all imaginable angles.  The journal is available through RILM Abstracts of Music Literature with Full Text.

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.