Aho, M.: The Introduction of Art Music Elements to Folk Kantele Performance and High Social Status: The Case of Kantele-Master Eino Tulikari. In: SIMP III (2013), 43-50

Aydin, A. F.: The Kaba Zurna Tradition in the Aegean Region of Turkey . In: SIMP III (2013), 51-56

Bartmann, M.: Open G Tuning + Banjo + Cassette Recorder = Rolling Stones — Traditional Tunings of Banjos, Bouzoukis, and 5-String Guitars in Rock Music, Folk Music and Beyond . In: SIMP III (2013), 57-74

Bröcker, M.(†): Bagpipe and Accordion in Paris: The Birth of a New Urban Music Style . In: SIMP III (2013), 75-96

Chuluunbaatar, O.: The Cuur as Endangered Musical Instrument of the Urianxai Ethnic Group in the Mongolian Altai Mountains. In: SIMP III (2013), 97-110

Elsner, J.: Tâsa and mrfa: Two flat-bottomed kettledrums of Yemen. In: SIMP I (2009), 1-16

Elsner, J.: Some Aspects of Dan-Singing in Yemen. In: SIMP II (2011), 71-78

Elsner, J.: A Wind-Instrument of Its Own: The Mizmar of Yemen. In: SIMP III (2013), 111-122

Fracile, N.: Bagpipes "of Banat" in Vojvodina, between past and present. In: SIMP II (2011), 93-104

Francis Hilarian ,L.: Is Kompang Compatible with Islamic Practices of the Malay Muslim Society?. In: SIMP I (2009), 17-36

Fujita, R.: Uchimono: The percussion instruments of gagaku music. In: SIMP I (2009), 37-48

Fujita, R.: Tofu-Rappa: Adaptation of Reed Aerophones in Japan. In: SIMP II (2011), 71-78

Fujita, R.: Chindonya: The Adaptation of Reed Aerophones in Japan. In: SIMP III (2013), 123-132

Garaj, B.: Towards the destiny of the diatonic button accordion on its way from Bohemia to Slovakia. In: SIMP I (2009), 49-58

Garaj, B.: Rural musical instruments at the turn of two centuries: the case of bagpipes in Slovakia. In: SIMP II (2011), 105-116

Hahmann, H.: The natural horn wakrapuku and its representative function for the rural area of central Peru. In: SIMP I (2009), 59-66

Hunter, J. R.: Redefining Western military drumming tradition: A look at re-representation techniques of Western style military music in late Edo Period Japan. In: SIMP I (2009), 67-78

Hutchinson, S.: Country noise in city spaces: Rereading the organology of Dominican merengue típico. In: SIMP I (2009), 79-90

Ivkov, V.: Vocal/ (and) instrumental relation of melody performed by accordionists in Vojvodina. In: SIMP II (2011), 117-132

Ivkov, V.: Studying the Accordion in the Folk Practice of Vojvodina - Particularities and Effects. In: SIMP III (2013), 133-142

Jähnichen, G.: Report on an experiment with the Gamelan Serdang. In: SIMP I (2009), 91-108

Jähnichen, G.: The Last of their Kind: Khmu Flute Songs. In: SIMP II (2011), 133-146

Jähnichen, G.: Sound Aesthetics in Lue Pi Performances. In: SIMP III (2013), 143-154

Jakovljević, R.: Master's Work: Constructing a Music Instrument as a Material, Cultural and Social Object. In: SIMP III (2013), 155-166

Kartomi, M.: Interaction between Violin (Biola) and Vocal Melody in Malay Sea Songs along Sumatra's Coast. In: SIMP II (2011), 147-162

Kirdienė, G.: Significance of Instrumental Music Making in Forced Exile: A Case Study of Lithuanians. In: SIMP III (2013), 167-196

Kovačič, M.: The usage of the church bell: From signaling device to the musical (percussion) instrument. In: SIMP I (2009), 109-120

Kovačič, M.: No laughter without bellows (Brez meha ni smeha) or accordion in Slovenia today. In: SIMP II (2011), 163-178

Lajić-Mihajlović, D.: Musical Spectacle: Brass Bands' Midnight Concert. In: SIMP III (2013), 18-31

Lengwinat, K.: Afro-Venezuelan percussion ensembles of the St. John's Festival. In: SIMP I (2009), 121-128

Lengwinat, K.: Construction, Social Practice and Music Production of Two Reed Instruments among the Wayuu Indians from Western Venezuela. In: SIMP III (2013), 197-208

Lukić Krstanović M.: Ritual and Symbolic World of Festivity. In: SIMP III (2013), 2-17

Lund, C. S.: Early Percussion Stones in Scandinavia: Finds and Traditions. In: SIMP I (2009), 129-150

Lutzu, M.: A New Device for the Analysis of Relations between Music and Gesture in Launeddas (Sardinia). In: SIMP II (2011), 179-192

Makharadze, N.: Children's Musical Instruments in Georgia. In: SIMP III (2013), 209-218

Marjanović, Z.: Ljubo Duletić's gusle and diple modulations. In: SIMP II (2011), 193-204

Markham, E.: Hands and Clappers: Parameters of Time Marked in Medieval Japanese Collections of Songs Without Melodies. In: SIMP I (2009), 151-164

Mashino, A.: Making sound, communicating with each other, and being on show: Body movements in musical performances of Balinese gamelan. In: SIMP I (2009), 165-176

Meddegoda, C. P.: Adaptation of the Harmonium in Malaysia: Indian or British Heritage?. In: SIMP III (2013), 219-238

Meinel, C.: The Concertina and Today's Concertina Scene in Upper Franconia. In: SIMP III (2013), 239-254

Modin, M.: Ernst Emsheimer's Extensive Network. In: SIMP III (2013), 255-270

Moreno Fernández, S.: The Rabel in Cantabria, Spain – Singing Transgression, Staging Regional Culture. In: SIMP III (2013), 271-290

Nagai, N.: A song not for singing? Historical scores for the qin (Chinese zither). In: SIMP II (2011), 205-218

Palubinskienė, V.: The Lithuanian Traditional Kanklės and Kanklės Players on Festivals. In: SIMP III (2013), 291-306

Popova, I.: Methods of Learning Harmonica Playing in the Folk Traditions of the Russian North. In: SIMP III (2013), 307-316

Rivera Andía, J. J.: An Exceptional Flute in the Andes: Morphology and Distribution of an Indigenous Traverse Flute in the Peruvian Northern Highlands. In: SIMP III (2013), 317-330

Rizzo, G. M.: Networked construction of Krk's island musical identities. In: SIMP II (2011), 219-242

Stojisavljević, M.: Gusle- the sound of Serbian epic poetry - perspectives of the tradition in modern Serbian society. In: SIMP II (2011), 243-250

Surmanidze, L.: Chiboni as a Symbol of the Region. In: SIMP III (2013), 331-338

Talam, J.: Examples of an interesting practice: Singing by the pan. In: SIMP II (2011), 251-256

Talam, J.: Traditional Instrumentalists: Experiences in Bosnia and Herzegovina. In: SIMP III (2013), 339-348

Tari, L.: Some effects of vocal and instrumental music on each other: identities and differences. In: SIMP II (2011), 257-268

Teffera, T.: Melodic Dialects of Ethiopian Folk Music Instruments: An Illustration of the six-stringed bowl lyre Krar of central and northern Ethiopia. In: SIMP II (2011), 269-286

Teffera, T.: Western Wind Instruments and the Development of Ethiopian Popular Music . In: SIMP III (2013), 349-376

Ungpho, R.: Pi Nai and Saw Sam Sai: the Special Instruments Imitating the Vocal Solo. In: SIMP II (2011), 287-296

Ungpho, R.: The Pi Ga-yhong – A Musical Instrument Used in Urak Lawoi Martial Arts. In: SIMP III (2013), 377-386

Vrbanić, V.: Bagpipes in modern musical practice in Croatia. In: SIMP II (2011), 297-306

Žarskienė, R.: The Role of Brass Bands in Funeral Rituals of Samogitia. In: SIMP III (2013), 387-402

Zeh, N. M.: The Brazilian Cuica: the percussion instrument which plays melodies. In: SIMP II (2011), 307-316

Zeh, N. M.: The Social Status of Musicians and Musical Leaders within Communities and Changes due the Entrance of Researchers. In: SIMP III (2013), 403-412

Zakić, M.: Brass Bands Competitions: From Local to International. In: SIMP III (2013), 32-42