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Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi

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Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi To cite this version: Marco Pérez, Emanuele Marconi. Wooden Musical Instruments - Different Forms of Knowledge: Book of End of WoodMusICK COST Action FP1302. Marco A. Pérez; Emanuele Marconi. 2018, 979-10-94642-35-1. hal-02086598 HAL Id: hal-02086598 https://hal.archives-ouvertes.fr/hal-02086598 Submitted on 1 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Musical instrument are fundamental tools of human expression of Knowledge Forms — Diferent Instruments Musical Wooden that reveal and reflect historical, technological, social and cultural aspects of times and people. These three-dimensional, polyma- teric objects—at times considered artworks, other times technical objects—are the most powerful way to communicate emotions and to connect people and communities with the surrounding world. The participants in WoodMusICK (WOODen MUSical Instrument Conservation and Knowledge) COST Action FP1302 have aimed to combine forces and to foster research on wooden musical instruments in order to preserve, develop and disseminate knowledge on musical instruments in Europe through inter- and transdisciplinary research. This four-year program, supported by COST (European Cooperation in Science and Technology), has involved a multidisciplinary and multi-national research group composed of curators, conservators/restorers, wood, material and mechanical scientists, chemists, acousticians, organologists and instrument makers. The goal of the COST Action was to improve the knowledge and preservation of wooden musical instru- ments heritage by increasing the interaction and synergy between different disciplines. Wooden Musical Instruments Diferent Forms of Knowledge Book of End of WoodMusICK Funded by the Horizon 2020 Framework Programme of the European Union COST Acton FP1302 25 € Edited by M arco a. p érez and e M anuele Marconi Illustrations: Front cover © Succession Picasso; isbn 979-10-94642-35-1 / printed in france / october 2018 9 791094 642351 Wooden Musical Instruments Diferent Forms of Knowledge Book of End of WoodMusICK COST Acton FP1302 Edited by M arco a. P érez and e M anuele Marconi Funded by the Horizon 2020 Framework Programme of the European Union Table of Contents 7 F oreword 9 Instrument (Re-)construction as a Catalyst for Organological Research G eerten VerB erkM oeS 35 Material or Immaterial? A Questionnaire to Help Decisions About the Preservation of Musical Instruments V era de Bruyn-o u B oter 53 Adopting a Policy of Faithful Copies of Historically Important Musical Instruments as an Alternative to Restoration J ohn r ay, a ntonio ManJ ón, a aron García 67 Methods of Dendrochronology for Musical Instruments M auro BernaB ei, k atarina cˇ u Far 81 Tropical and Traditional Wood Species in Musical Instruments and Case Studies of Their Substitution with Modified Wood M ario z auer, a lexander PF rieM 99 Assessing the Impact of Conservation Materials on the Acoustic Properties of Woodwind Musical Instruments e FStathioS d o G aniS , Sandie l econte, a naS taS ia Pournou 119 Revisiting the Notion of “Resonance Wood” Choice: A Decompartmentalised Approach, from Violin-Makers’ Opinion and Perception to Characterization of Material Properties’ Variability c. c arlier, a. a lkadri, J. Gril, i. BréM aud 143 Non-Destructive Investigation of Historical Instruments Based on 3D-Re- flected-Light Microscopy and High-Resolution μ-X-ray CT V olker h aaG , Se B a S tian k irS ch, Gerald k och, V alentina z e M ke, h anS -GeorG r ichter Soutien apporté par la Fondation des Sciences du Patrimoine 157 X-Ray CT and Neutron Imaging for Musical Instruments LabEx Patrima (Investissements d’avenir, A Comparative Study réf. ANR-10-LABX-0094-01). S e B a S tian k irS ch, d aV id ManneS iSBn 979-10-94642-35-1 © cité de la MuSique - PhilharMonie de PariS, 2018 www.philharmoniedeparis.fr 3 171 Three-Dimensional Computed Tomography Scanning of Musical Instruments 325 FA-RE-MI (Faire parler les instruments de musique du patrimoine): F rank P. Bär, t heoB ald FuchS , Se B a S tian k irS ch, Making Historical Musical Instruments Speak r e B ecca w a G ner, Ga B riele Scholz, c hriS tian S téP hane Vaiedelich, h. Boutin, a rthur Paté, k retzer, r ichard Schielein, Guido BrennhäuSSer, a. Gi VoiS , B. Fa B re, S. l e c onte, J.-l. l e c arrou M ichael Böhnel, n ilS r eiMS, MarkuS e B erhorn, t o B iaS k o PPerS , MarkuS r aquet, 343 Early Development Process of the Steinway & Sons Grand Piano M eike w olterS -r o SBach, k athrin Fi S cheidl, Duplex Scale S arah w a G ner, MarkuS z e PF n iko Plath, k atharina Preller 189 Application of X-Ray Computed Tomography in Diagnostics 367 A Synergy of Form, Function and Fashion in the Manufacture and Reverse Engineering of Bowed Stringed Musical Instruments of the Erard Harp F. P iaS entini, M. Mo S catti, S. c arM i G nato P anaG iotiS PouloP ouloS , Julin l ee 207 Geometrical Analysis on the Design of Stringed Instruments – A Useful 399 The Music of the Mulberry: Wood Science, Know-How and Symbolism Method for Luthiers and Musicologists? in Instrument-Making in Khorassan (Iran) and Central Asia S i M one r e G ina z o PF, Florian h ertzS ch, F arrokh VahaB zadeh M anuel h roVath, JakoB n achB arG auer, a ndreaS Seyer-k licznik 227 Sibire’s Aesthetic Sensibility: Stradivarius, the Classical Ideal and a New Noble Purpose c hriS tina l inS enM eyer 249 The Acoustics and Historic Development of String Instruments G eorG e StoPPani, c olin GouG h 269 Violins, Pochettes, or Mute violins? Shining a Light on the “Violins Without Sides” J. Santa Maria Bouquet, S. k irS ch, M. a l B ano, a. r i G a M onti 291 Virtual Experiments on Stringed Wooden Instruments: Influence of Mechanical and Climate Loading d aniel k onoP ka, Michael k aliS ke 311 Restoration of the Mother-and-Child Virginal by Ioannes Ruckers (Antwerp, 1610): The Choice of a New Presentation With a Focus on the Difficult Problem of Soundboard Cleaning a G nèS e S quirol, l i V ine h uart, c écile de Boulard 4 5 FOREWORD The universally shared emotion caused by the loss of emblematic ob- jects or sites of cultural patrimony, be it the unfortunate result of un- stoppable degradation, or perhaps the result of deliberate political will, shows how much the knowledge, safeguarding and understanding of cultural heritage represents a virtuous element of social cohesion in the development of civilizations in democratic societies. There is no society without music: music is a language that can- not be expressed without instruments, and it holds a special place in every cultural tradition. Not only musical and functional and/or tech- nical objects, instruments are also often objects of art. As such, their identities cannot be deciphered without an approach combining several scientific disciplines. Among the materials from which instruments are made, wood—an exceptional technical material imbued with myths and symbols—reigns supreme in their manufacture. The COST Association, part of the Scientific European Commis- sion, sought to support a musical instrument-based project to strengthen the bridge between the humanities and the natural sciences, within the framework of European research and conservation of cultural heri- tage. The COST Action WoodMusICK (WOODen MUSical Instrument Conservation and Knowledge) was created in 2013. The network brought together different fields of research (wood sciences, history, acoustics, conservation, chemistry, ethnomusicology, etc.) and profes- sionals from diverse backgrounds (academic researchers, instrument makers and museum professionals). Grouped around the study of wooden musical instruments, these scientific communities were able to compare their experiences, discuss their views and invent a new form of dialogue. Within a short time, more than twenty-three countries had joined the project, evidence of a pressing need in this area which, we hope, the COST FP1302 Wood- MusICK project has fulfilled. The richness of the exchanges, focused around the annual meet- ings boosted by the project, the resultant number of ‘short missions’ initiated by young researchers, the large body of scientific works published in four years, and the continued involvement of musical instrument makers all demonstrate that COST FP1302 WoodMusICK created a new community of musical instrument researchers. Several innovative lines of research arose from the activities of this new com- munity, combining probes into emerging digital tools (neutrons, X- rays, nanotechnology, in situ microscopy, predictive mechanics) with 7 Instrument (Re-)constructon as a Catalyst for Organological Research the issues of historical reconstruction and preservation of the musical instrument heritage within public and private collections. This book is a selection of contributions obtained after four years G eerten VerB erkM oeS of meetings and collaborations between musical instrument research- Department of Art, Music and Theatre Sciences, Ghent University, Belgium ers from twenty-three European countries, and aims to summarize and Department of Musical Instrument Making, University College Ghent, present the different approaches and lines of research that constituted School of Arts, Belgium the essence of WoodMusICK. It does not represent the end of the proj- ect, but rather is an opportunity to promote education, and opens a second phase of periodic meetings aimed at continually improving our Abstract knowledge of musical instruments.
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