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Tervuren Reports Annual Meeting of the International Committee of Musical Instrument Museum and Collections CIMCIM 2011 – Tervuren Reports Rencontre annuelle du Comité international des musées et collections d’instruments de musique CIMCIM 2011 – Tervuren Rapports Ignace de Keyser (dir.) COLLECTION DIGITALE « DOCUMENTS DE SCIENCES HUMAINES ET SOCIALES » SOMMAIRE | CONTENTS FOREWORD | AVANT-PROPOS . 4 INTRODUCTION . 5 PART | PARTIE 1 : CLASSIFICATION . 7 Susanne Fürniss Morphologies et usages : la harpe-en-terre de l’Afrique centrale . 9 PART | PARTIE 2 : MUSEUM | MUSÉES . 21 Jean-Gilbert Kouloufoua Le musée panafricain de la Musique . 23 Aka Konin Le patrimoine musical de la Côte d’Ivoire. 27 Victorine Mayemba Buyuku L’expérience de l’Institut des Musées nationaux du Congo . 55 Saskia Willaert African instruments in the Musical Instruments Museum Brussels (1877-1913) . 61 Madeleine Leclair La rése-rve des instruments de musique du musée du quai Branly . 73 PART | PARTIE 3 : MUSICAL INSTRUMENTS | INSTRUMENTS DE MUSIQUE . 79 Marie-Anne Loeper-Attia Extra-European musical instruments at the Musée de la Musique in Paris . 81 Anne Houssay et Wolfgang Früh Restauration d’une kuitra du XIXe siècle . 87 © Royal Museum for Central Africa/Musée royal de l’Afrique centrale Tervuren 2012 13, Leuvensesteenweg Rémy Jadinon 3080 Tervuren, Belgium The Ngombi harp and its music. 111 www.africamuseum.be All rights reserved. Any reproduction of this publication, except for private or educational use, by means of print, photocopy or any other medium is strictly prohibited without the written authorization of the RMCA’s Publications Service, Leuvensesteenweg 13, 3080 Tervuren, Belgium. Toute reproduction de cette publication à fin autre que privée ou éducative, que ce soit par impression, photocopie ou tout autre moyen est interdite sans l’autorisation écrite préalable du service des Publications du MRAC, Leuvensesteenweg 13, 3080 Tervuren, Belgique. ISBN : 978-9-0817-9406-0 Legal Deposit/Dépôt légal : D/2012/0254/02 Cover/couverture : © Collection musée de la Musique. Photo : Jean-Marc Anglès | J. Gansemans, © MRAC/RMCA | © C.Cohen, 2005 ● 4 ● Annual Meeting of the CIMCIM 2011 | Rencontre annuelle du CIMCIM 2011 Introduction ● 5 ● FOREWORD | AVANT-PROPOS INTRODUCTION The 2011 CIMCIM conference in Paris-Brussels included a full day at the Royal Museum for Central Africa The main theme of the 2011 CIMCIM Meeting was ‘Museums of Music – Music in Museums’. During four in Tervuren with a programme dedicated to ethnomusicological, organological, and museological aspects of Af- days, participants focused on the new challenges facing musical instrument collections, both in their research, rican musical instruments in collections in Africa and elsewhere. CIMCIM is grateful to RMCA for generously their conservation, and exhibition and educational programmes. The fifth day was devoted to African collections sponsoring this event. and musical instruments. The papers presented by African and European specialists offered not only interesting insights into the rich- Africa’s music shaped a large part of the actual music scene through its diaspora in North, Central and South ness of several African collections but also pointed to the amount of work still to be done in order to bring all this America: Jazz, Blues, Rock, Salsa, Latin American dance music are unimaginable without African roots. However, knowledge and expertise to museum colleagues and a general public worldwide. Africa’s musical traditions are still largely unknown. Several of the papers touched upon the difficulties faced by our African colleagues in their painstaking efforts Moreover, despite the efforts of ethnomusicologists, despite field campaigns in large parts of this immense to collect, secure, and maintain traditional musical and instrumental heritages in times of extreme difficulty. As continent, despite the consciousness of African (ethno)musicologists about the importance of its musical tradi- president of CIMCIM I find it of great importance that these points were raised and continue to be raised and tions, and despite the success of World Music and Afro-Rock among young people in the West, much basic discussed in the open and constructive forum of CIMCIM/ICOM – our professional platform for sharing and research has to be done. learning on a global scale, and ideally for supporting one another. In the same vein, African musical instruments and musical instrument collections are waiting to be discov- On this note we welcome our new African colleagues – and hopefully more to come – in the CIMCIM com- ered. Thanks to the EU project MIMO, the 8,500 musical instruments from RMCA have been put on the Internet munity. and are now available through the Europeana* portal. This meeting lent a voice to our African partners and European specialists on African musical instruments. They talked about their commitment to Africa’s traditions and organological legacy. Our African colleagues are La conférence CIMCIM de 2011, organisée à Paris-Bruxelles, comportait une journée complète au Musée fighting for the survival of these two things. It is a pleasure to see that they are willing to join our networks and royal de l’Afrique centrale (Tervuren). Celle-ci était consacrée aux aspects ethnomusicologique, organologique et to become full members of CIMCIM. muséologique des instruments de musique africains appartenant aux collections conservées en Afrique et ailleurs. CIMCIM remercie le MRAC d’avoir soutenu généreusement ce projet. La rencontre CIMCIM 2011 avait pour thème principal « Musée de musique – Musique au musée ». Durant Outre qu’ils révélaient la richesse de certaines collections africaines, les exposés présentés par les spécialistes quatre jours, les participants se sont penchés sur les nouveaux défis qui se présentent aux collections d’instruments africains et européens soulignaient la quantité de travail qui reste à effectuer pour porter, au niveau mondial, toute de musique, et qui concernent tant la recherche que la conservation, les programmes d’expositions et éducatifs. cette connaissance et toute cette expertise aux collègues des musées et au grand public. Le cinquième jour était consacré aux collections et aux instruments africains. Certains articles ont évoqué les difficultés que rencontrent nos collègues africains dans les efforts minutieux À travers ses diaspora d’Amérique du Nord, centrale et du Sud, la musique africaine a modelé pour une qu’ils consacrent, en des temps de difficultés extrêmes, à la récolte, la protection et l’entretien d’héritages tradi- grande part les formes musicales actuelles : pourrait-on imaginer le jazz, le blues, le rock, la salsa et autres musiques tionnels musicaux et instrumentaux. En qualité de présidente du CIMCIM, je considère qu’il est d’une importance dansantes latino-américaines dépourvues de racines africaines ? Pourtant, les traditions musicales africaines restent majeure que ces points soient soulevés et continuent d’être soulevés et discutés dans le cadre du forum, ouvert et largement méconnues. constructif, de CIMCIM/ICOM, notre plate-forme professionnelle de partage et d’enseignement à l’échelle glo- Qui plus est, nonobstant les efforts fournis par les ethnomusicologues, malgré les campagnes de terrain qui bale et, nous le souhaitons, de soutien réciproque. ont couvert de larges parts de cet immense continent, bien que les (ethno)musicologues africains soient conscients Que cet avant-propos soit l’occasion de souhaiter la bienvenue à nos collègues africains – dont, nous l’espé- de l’importance de leurs traditions musicales et en dépit du succès que rencontrent la world music et l’afro-rock rons, le nombre ira croissant – dans la communauté CIMCIM. auprès de la jeune population occidentale, un travail de recherche de base doit encore être accompli. De même, des instruments de musique africains et des collections attendent d’être découverts. Grâce au projet européen MIMO, les 8500 instruments de musique du MRAC ont été placés sur Internet et sont à présent acces- Lisbet Torp sibles par voie du portail Europeana*. CIMCIM President Cette rencontre a donné la parole à nos partenaires africains et aux spécialistes européens des instruments de Head of Collections, Dr. Phil. musique africains. Ils y ont parlé de leur engagement vis-à-vis des traditions et de l’héritage organologique ; nos The Danish Music Museum – Musikhistorisk Museum & The Carl Claudius Collection collègues africains luttent pour la survie des deux. Nous éprouvons un réel plaisir lorsqu'ils se montrent désireux Présidente du CIMCIM de rejoindre nos réseaux et de devenir membres du CIMCIM à part entière. Chef des Collections, Dr Phil. Ignace De Keyser Musikhistorisk Museum & Carl Claudius’ Collection (musée danois de la Musique) (Former) Head of the Ethnomusicological Section, Dr. Phil. Royal Museum for Central Africa Chef honoraire de la section d’Ethnomusicologie, Dr. Phil. Musée royal de l’Afrique centrale * URL: http://www.mimo-international.com PART | PARTIE 1 CLASSIFICATION Morphologies et usages : la harpe-en-terre de l’Afrique centrale - Susanne Fürniss ● 9 ● MORPHOLOGIES ET USAGES : LA HARPE-EN- TERRE D’AFRIQUE CENTRALE FACE À LA CLAS- SIFICATION UNIVERSELLE DES INSTRUMENTS DE MUSIQUE À Geneviève Dournon Deux chercheurs français, André Schaeffner et Geneviève Dournon, ont considérablement amélioré la classification des instruments de musique de Hornbostel & Sachs (1914). Le premier est célèbre pour sa contribution à la naissance de l’ethnomusicologie française, la seconde pour la con-
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