October 2013/ 1 CIMCIM BULLETIN

Comité International des Musées et Collections d‘Instruments de Musique Comité Internacional de Museos y Colecciones de Instrumentos Musicales International Committee of Musical Instrument Museums and Collections

CONTENT

President‘s Message ...... 1

Allen Roda Meeting report and reflections from a travel grant recipient . . . 3

Silke Berdux Sonja Neumann Panagiotis Poulopoulos

Panel Session: Photo: Lisbet Torp New Media for The Faculty of Music and the Bate Collection – home to the Galpin-CIMCIM conference. Musical Instrument Collections: Trend, Luxury or necessity? . . . . 4 President‘s Message ies«, »English Eccentrics«, »At the Work Bench«, »Instruments Across the Ages«, The Oxford conference 2013 Heike Fricke »International Influences«, and »Keyboard Sabine K. Klaus CIMCIM’s annual meeting and conferen- Instruments«. Arnold Myers ce 2013 took place in Oxford during July In addition to the above mentioned the- Quo Vadis, Organology? . . . . . 8 25 through 29 upon invitation from the mes, two specific themes had each been Galpin Society, which generously opened given a time frame of a full day. Thus, the Minutes of the CIMCIM its annual conference to include CIMCIM second day of the conference was devo- General Assembly ...... 14 and its members. The Faculty of Music of ted to the project »Making the Tudor Vi- the University of Oxford provided ideal ol« including live viol music in the garden CIMCIM Conference 2014 conditions for the conference – indoors during the lunch break. The programme in the Nordic Countries . . . . . 16 as well as outdoors – with Andy Lamb of the last day was organized around to- as the perfect host. Hence, CIMCIM once pics related to music museums including a again enjoyed the privilege and pleasure panel session on »New Media for Musical Exhibitions/Conferences . . . 18 of joining a collegial society in a confe- Instrument Collections: Trend, Luxury or rence where shared interests and organo- Necessity?«. The papers of the New Media logical insights go hand in hand. Thanks panel and the succeeding discussion ad- New Book Releases ...... 19 to the hosts, the Oxford conference was dressed acute and relevant topics at a time a delightful and professionally rewarding when curators and museum mediators event. need to think of new ways and means in The overall theme Musical Instruments – their outreach to visitors who – regardless History, Science and Culture offered a wide of age and background – have access to a range of papers carefully chosen and or- wealth of digital and interactive sources Editor: Heike Fricke Texts should be submitted to: ganized by the Programme Committee via the internet. (A report on the papers [email protected] under the following sub-themes: »Trade presented and the discussion following Deadline for the next and Business«, »Methods and Analysis«, the panel session can be found on pp. 4-7) CIMCIM Newsletter: 15.04.2014 »New Directions in Musical Instruments«, In addition to conference papers, the pro- »Plucked Strings«, »Renaissance Discover- gramme offered guided tours by Ben Heb-

CIMCIM Bulletin · October 2013 1 President‘s Message

Christ Church College and Cathedral, the Faculty of Music’s outstanding neighbour. bert to the unique Stradivarius exhibition elections to the Board. As a result of this Walking along St. Aldates. at the Ashmolean Museum, Jeremy Mon- it is my pleasure to announce that the fol- tagu generously opened his house and pri- lowing CIMCIM members were elected to vate collection to conference participants, the Board for the election term of 2013- and the Bate Collection, housed at the Fa- 2016. culty of Music, was open throughout the Executive Board whole conference. The programme also offered a gamelan workshop, an organ re- Lisbet Torp, President (Denmark) cital in Pembroke College Chapel, a lecture Gabriele Rossi Rognoni, Vice President recital, »The Lute Made Easy«, by Matthew (Italy) Spring given at the Holywell Music Room Bradley Strauchen-Scherer, Secretary (USA) – the oldest purpose-built concert hall in Patrice Verrier, Treasurer (France) Europe, opened to the public in 1748 – and Advisory Board finally, a theremin recital by Lydia Kavina was an integral part of the gala dinner Eric de Visscher (France) served at St Cross College. Darcy Kuronen (USA) On behalf of the CIMCIM membership, I Golnaz Golsabahi (Iran) cordially thank the Galpin Society and its Frank Bär (Germany) chairman Graham Wells for having us, the Alla Bayramova (Azerbayjan) Photos: Lisbet Torp Faculty of Music for housing us, local host Zhang Xiang (China) On the way to Jeremy Montagu’s private Andy Lamb, chair of the organizing com- collection – Jeremy leading his flock. Coopted member to the Board mittee, for making us feel at home and welcome at the faculty, the programme Heike Fricke, CIMCIM Bulletin Editor Minutes of the 2013 General Assembly can committee’s driving forces Lance White- (Germany) be found pp. 14 of this Bulletin. head and Bradley Strauchen, as well as fa- culty staff and students who helped th- Some of the above board members were Future conferences roughout the conference. reelected in their current functions and Scandinavia 2014 Warm thanks also go to the benevolent others are new on the Board. sponsors who joined forces with the or- On behalf of the CIMCIM membership, The 2014 conference is organized as a ganizers in making the Oxford conference I thank the outgoing members for their travelling conference visiting Sweden, a success. support and services to CIMCIM and its Finland, Denmark, and Norway in succes- membership over the past six years: sion. The invitation from the Nordic coun- General Assembly and elections to Christiane Barth, Treasurer (Germany), tries was extended to the membership at the CIMCIM Board Martin Elste, member of the Advisory the General Assembly by Mats Krouthén Board (Germany), Darryl Martin, member (Ringve Museum,Trondheim). The prelimi- On July 26 during the second day of of the Advisory Board (UK), Arnold Myers, nary programme of the Scandinavian con- the conference, CIMCIM held its annual coopted member to the Advisory Board ference is presented on pp. 16. General Assembly which this year included (UK)

2 CIMCIM Bulletin · October 2013 President‘s Message

Moscow 2015 As previously announced, CIMCIM has ac- cepted an invitation from Mikhail Bryzga- lov, Director of the Glinka National Mu- seum Consortium of Musical Culture, to hold its conference in Moscow in 2015. In preparation for this event, the Board and Mikhail Bryzgalov met over fruitful discussions about guidelines, practicalities and necessities regarding the forthcoming Moscow conference during the meeting in Oxford. Milan 2016 In 2016, CIMCIM’s annual meeting will be part of the triennial ICOM conference. Hence, we shall hopefully meet in Milan where we shall share mutual interest and concerns with members of all the other international and national ICOM commit- tees. Hoping to see you all at the future con- Photo: Lisbet Torp ferences and events, I send you my best wishes and warm regards, Hands-on in the Bate Collection – Mikhail Bryzgalov in action. Lisbet Torp

Meeting report and reflections from from greater interaction. I also think that This brings me to my last reflection. Orga- CIMCIM travel grant recipient Allen theoretical developments in science and nologists (or at least those in attendan- Roda technology studies, material culture stu- ce at the conference in Oxford) seem to It was a great pleasure to attend the an- dies, and sound studies over the last ten be a remarkably homogenous group tas- nual meeting in Oxford, and I would like to fifteen years might be very interesting ked with representing the diverse musical to thank CIMCIM for the travel award, wi- to discuss among musical instrument cultures of the world to the public at lar- thout which it would have been impossible scholars. ge. How do instrument curators address for me. From my perspective as an ethno- Following along the notion of interdisci- inherent cultural biases that are in many musicologist somewhat new to the field plinarity, it struck me that every instituti- ways built into the structure of these insti- of musical instrument collections, I would on housing a museum collection serves a tutions, if not the collections themselves? offer these reflections, with the prelimi- unique purpose and that it would be extre- How do they reconcile the sheer impossi- nary observation that nothing I present mely difficult to develop standards or prac- bility of becoming an expert in all of these here will be new to anyone in the field. tices that could be universally applicable musical traditions with their own personal Firstly, I am deeply impressed with the ri- across these various needs. (I imagine this interests and specializations? I personal- gor and enthusiasm of object-oriented re- must be one of the largest hurdles facing ly find these challenges to be both daun- search among organologists and their at- the MIMO project.) In Oxford alone, I visi- ting and exciting. I was thrilled to meet so tention to detail. At times I felt like these ted the Bate, Pitt Rivers, Ashmolean, and many museum professionals working with conversations would dovetail so nicely Montagu collections, and while in London musical instruments and to have casual into other scholarly discourse on materi- I visited the Horniman and the Asian Music conversations about everything from the al culture or science and technology stu- Circuit. While all of these institutions fa- politics of polishing metal to the produc- dies, especially if we began to think more ce similar problems, they have such diffe- tion of historically-accurate reeds. I thank broadly about some of the issues raised rent constituencies, which ultimately im- CIMCIM again for the opportunity to par- through our close readings of physical ob- pact their display and conservation prac- ticipate in the conference. I walked away jects. The study of musical instruments is tices. This became readily apparent during from the experience deeply impressed by so deeply interdisciplinary, that it seems as the roundtable on media in the museum, the community of scholars I met and the though it shouldn’t be limited to specia- which served as an excellent opportuni- various issues that influence their work. list discourse. I think many scholars who ty to gain even more insight into the di- Dr Allen Roda are not members of CIMCIM, Galpin, or versity of institutions housing instrument Jane and Morgan Whitney Research AMIS would not only enjoy, but benefit collections in Europe and North America. Fellow, Metropolitan Museum of Art

CIMCIM Bulletin· October 2013 3 REPORTS Silke Berdux, Sonja Neumann, Panagiotis Poulopoulos Department of Musical Instruments Deutsches Museum, München

PANEL SESSION »NEW MEDIA FOR MUSICAL INSTRUMENT COLLECTIONS: TREND, LUXURY OR NECESSITY?«

Figure 1: The ‘time machine’ (left) and ‘baroque ensemble’ (right) interactives (photographs courtesy of Monika Lustig, reproduced by permission).

The session took place during the last day tion by Lisbet Torp, president of CIMCIM, Musik auf der Spur’ (‘SoundTimeSpace. of the joint conference of the Galpin So- who emphasised the relevance of the top- On the Trail to the Secret of Music’) in the ciety, the ‘Making the Tudor Viol’ Project ic, since many museums housing musical Museum of the Stiftung Kloster Michael- and CIMCIM, titled ‘Musical Instruments: instruments are presently in a stage of stein/Musikakademie Sachsen-Anhalt für History, Science and Culture’, Oxford, 25 to renovation. Silke Berdux then addressed Bildung und Aufführungspraxis, Blanken- 29 July 2013. The session was organised by some of the main issues in selecting new burg. Examples of interactives, such as the Silke Berdux, Sonja Neumann and Pana- media for musical instrument collections, ‘time machine’, where visitors can hear giotis Poulopoulos from the Department pointing out, among others, the growing and see the change of music and instru- of Musical Instruments, Deutsches Muse- public demand for more sound and inter- ments in different times, or the ‘baroque um, Munich, in cooperation with CIMCIM. active elements as confirmed by a visitor ensemble’, where visitors can experien- The aim of the session was to provide a survey that was recently carried out in the ce musical instruments in the context of ‘platform’ for the exchange of material Deutsches Museum. Additionally, Son- church music as an impressive light-show and ideas on how museums can present ja Neumann and Panagiotis Poulopoulos using a multimedia station (Figure 1), were musical instruments and sound through presented several examples of currently extensively analysed. the effective use of new media, a question available multimedia devices, hands-on The second paper, by Olaf Kirsch, described that is today significant for many musi- and interactives in exhibitions where mu- the media-based education programme cal instrument collections. The session sic and sound is a crucial component, al- for the exhibition ‘Patente Instrumente‘ included a preliminary overview of the though it may have a different role than (‘Ingenious Instruments’) in the Museum theme and five short papers related to the in many ‘traditional’ musical instrument für Kunst und Gewerbe Hamburg. For this development and use of media in musical museums. exhibition of unusual string and wind in- instrument exhibitions, followed by a dis- The first paper, by Monika Lustig, focused struments from the nineteenth and twen- cussion among the participants. on the media installed in the new exhibi- tieth centuries numerous audio and video The session began with a brief introduc- tion ‘KlangZeitRaum. Dem Geheimnis der clips were produced, which were also offe-

4 CIMCIM Bulletin · October 2013 New Media for Musical Instrument Collections

Figure 2: New Media in the Museum für Kunst und Gewerbe Hamburg (photographs courtesy of Olaf Kirsch, reproduced by permission). red as iPhone Apps. Furthermore, this ma- the most important changes that have oc- encountered in this project (Figure 5). terial contains four short films in which in- curred in the last two decades. The paper Afterwards there was a lively discussion struments are shown in their historical and also revealed two new developments, the (Figure 6) with questions and comments social background, such as a kit violin used ‘Touchez la musique’ (‘Touch the music’), a from the audience on the five papers as during an appropriately directed eighte- hands-on for visitors with special needs, well as on topics relating to sound (e. g. enth-century dancing lesson (Figure 2). and the ‘AMMICO’, a research project re- ‘live’/recorded sound, ‘silent’/‘loud’ exhi- The third paper, by Darryl Martin, dis- garding a new portable interactive device bitions), media types (e. g. passive/active/ cussed the design of new media in the which will act simultaneously as an orien- interactive/‘hands-on’), devices (e. g. per- Edinburgh University Collection of Historic tation tool, a search engine for additional manent/portable, analogue/digital), vis- Musical Instruments (EUCHMI) in relation information to the exhibited artefacts, and itor experience (e. g. virtual/real, person- to a larger project that will involve ma- a medium for social networking (Figure 4). al/communal), and technical issues (e. g. jor restructuring of the existing building. The fifth and last paper, by Darcy Kuro- maintenance, compatibility, updating). Future initiatives concerning the use of nen, demonstrated various text, sound The following statements are represen- media in EUCHMI will not only aim to im- and video samples from the new E-book tative of the arguments heard during the prove the display of instruments, but al- ‘MFA Highlights: Musical Instruments’ by discussion, showing the advantages and so highlight broader aspects of museum the Museum of Fine Arts, Boston. This pu- disadvantages of media and the resulting work, such as conservation and research, blication comprised recordings of some ambivalence: by providing ‘live’ views to workshops and less-documented instruments from all The focus of museums is artefacts. Nowa- other areas which are normally out of ac- over the world, often played by local per- days, people may have unlimited access to cess for visitors (Figure 3). formers coming from diverse cultures. Mo- information on the internet, but it is the The fourth paper, by Eric de Visscher, sum- reover, the paper examined issues of pro- ‘power of objects’ that still attracts them marised the pioneering history of media in duction, copyright and distribution of such to museums. Historic musical instruments the Musée de la Musique, Paris, accounting material and listed some of the problems in particular have a universal appeal that

Fig. 3: New design of St. Cecilia‘s Hall in Edinburgh.

CIMCIM Bulletin · October 2013 5 New Media for Musical Instrument Collections

Figure 4: The ‘Touchez la musique’ hands-on (left) and the ‘AMMICO’ portable interactive device (right) (photographs courtesy of Eric de Visscher, reproduced by permission). extends beyond their sound. Although struments, even on copies. Guided tours adapt and modernise. A common comp- media cannot replace the original arte- which involve museum staff demonstra- lain among museum visitors is that such facts they can be efficiently used to sup- ting the sound of the instruments may sa- devices sometimes do not function pro- port their multifaceted ‘stories’. tisfy this curiosity and, at the same time, perly or have working problems. Apart Modern media can be more versatile com- inform the audience about issues of con- from the costs of buying new high-tech pared to ‘static’ exhibition texts and la- servation and performance practice. devices, museums should more careful- bels. Permanent multimedia installations, Media can provide explanatory informati- ly think about the costs of keeping such such as kiosks or info-terminals, may be on about the historical and technical fea- equipment in order for a long time. It is more appropriate for groups and elderly tures of musical instruments incorpora- not enough to invest in acquiring such people, while mobile devices may attract ting also the results of new organologi- media if there is no plan for their future a younger and more dynamic audience fa- cal research. The role of media is of great maintenance. miliar with digital technologies and social importance particularly in archaeological As much as the public can learn from mu- media. However, concerns have been ex- and historical material where, due to lack seums, museums can learn from visitors, pressed that media, whether permanent of original instruments, further contextu- collectors or volunteers, who may be spe- or mobile, can lead away from the original alisation can be achieved mainly through cialists in a specific area. Museums should artefacts or act as a barrier between visitor replication and simulation based on li- therefore encourage this interchange of and artefact. terary or iconographical evidence. knowledge and experience and use it in The use of augmented reality may help vi- Children and teenagers typically spend too exhibitions as a medium for communi- sitors ‘experience’ otherwise ‘silent’ mu- much time in front of computers, televi- cation (e.g. through interviews, personal sical instruments. Science centres have sion, and virtual games, so it would be stories, memories, anecdotes, etc.). Visitors been successfully employing such tech- better if they could try some more phy- should also be allowed to send or upload nology in order, for instance, to visualise sical, natural activities during their visit in information about particular objects of complex natural phenomena or to explain a museum. Thus, it is important to have, which little is known, such as, for instance, the function of intricate mechanisms, and for example, X-ray or CT-scan images on non-European instruments or electro- such examples could be applied to musical screens in front of objects as ‘attractive’ phones that were made in small numbers instruments. information, but also to let young visitors and went quickly out of production. Human guides can be more appealing and discover artefacts by observation and ex- The main conclusions arising from the dis- more respected in comparison to multi- periment. cussion are: media guides, and their role in the transfer Since producing audio/video samples, Media, whether mechanic or electronic, of knowledge to visitors is irreplaceable. even by using copies of instruments, is analogue or digital, can only assist the ro- Although their interpretations may so- neither cheap nor easy, museums should le of human action, since museum staff metimes be subject to personal bias, they find ways of sharing material that is al- can usually attract and engage with the can act as important ‘communicators’ bet- ready available. In this case, any copyright public more effectively than devices. Mu- ween the visitor and the artefact. For ex- issues need to be considered and resolved. seums should, therefore, combine the use ample, when historic musical instruments The main problem regarding new me- of available technologies in the design of are concerned, the majority of visitors ex- dia is not about innovation and variety, multimedia, hands-on and demonstra- pect to hear the sound of the exhibited in- but rather how easy they are to repair, tions, with the presence of specialised mu-

6 CIMCIM Bulletin · October 2013 New Media for Musical Instrument Collections

Figure 5: E-book from the Museum of fine Arts, Boston (photographs courtesy of Darcy Kuronen, reproduced by permission). seum staff within an exhibition. tive cooperation within the wider museum we would like to thank CIMCIM and the Good working order and easy maintenan- community, especially in facilitating the conference organisers for their kind help, ce are more important than the design and exchange of digital resources. Although the five speakers for their inspiring papers, look of multimedia in an exhibition. A less the limited time did not allow all aspects as well as all the colleagues that attended up-to-date, simple device that constant- of the topic to be discussed in depth, we the session and contributed to an intere- ly works may be better than an expensive hope that the session was a starting point sting and productive discussion. high-tech gadget that requires frequent for further communication, and for additi- and costly repairs or may be out of order onal considerations and activities. Finally, every couple of weeks. In any case, the use of media should aim to support and not substitute the original artefacts. Museums should find ways of collabora- ting and sharing material to reduce pro- duction and copyright costs. Although every exhibition has different require- ments, certain audio or video samples, animations, etc. produced to specific stan- dards (which could be established by an acknowledged committee such as CIM- CIM) can be used by several museums, without compromising the originality of an exhibition. Museums should enquire if such costs can be partly covered by EU-funded projects or other international organisations. To sum up, the session highlighted ma- ny of the problems that museums have to face today with the rapidly advancing technology and the change of the visitors’ focus towards a more interactive context. It also exposed the need for more crea- Figure 6: The panel session during the discussion (photograph by Sonja Neumann).

CIMCIM Bulletin · October 2013 7 COLLOQUY

QUO VADIS, ORGANOLOGY?

In times of changing academic curricula musical structure of a piano sonata by Mo- responsibilities a museum of musical in- a reflection upon organology as an aca- zart, for example, becomes blurred using a struments has into the course of study will demic subject seems to be advisable. The modern Steinway-grand. This is the case, inform and enrich the course. This heigh- CIMCIM bulletin wishes to initiate a dis- because the Hammerflügel of Mozart’s tened level of perception and appreciation cussion and invites members to send in time offers contrasts in sound whereas for the work and the content of a museum their thoughts. the modern sound ideal prefers a consi- is something all students should develop stent sound in all registers. Mozart used before they graduate. Introduction these contrasts to elucidate the harmo- On the other hand museums of musical So far, in Germany organology is a nic or formal structures. Not only a mu- instruments should not design their pro- neglected branch of musicology. A pos- sicologist but also a virtuoso should know grams with only scholars and students in sible reason for this situation might be that, therefore we need a thorough orga- mind, but reach out for a wider audience. that musicology still hasn‘t overcome its nological education at our music schools, The increasing number of ways citizens own overestimation of a theoretic-analy- conservatories and universities. Moreover can learn about science and arts in the tical approach to music, which is rooted young musicians should have the oppor- 21st century should be matched by an in- in 19th century understanding of cul- tunity to get in contact with historic mu- creased level of scientific knowledge or ture and the arts. On the other hand the sical instruments at an early age. sophistication. pure description, measurement, collecting, A museum of musical instruments should The museum is a part of the community and classification of musical instruments preserve and present material culture in a and as such it should encourage the pu- can in fact not be regarded as an appro- way that creates new knowledge and also blic to take advantage of its resources. The priate scientific approach to musical in- new forms of cognition. It should do eve- public engagement of museums involves struments. We are teaching the Hornbo- rything it can to make the work of human generating, transmitting, applying and stel-Sachs scheme of instrument classifi- hands and the products of human inspira- preserving knowledge for the benefit of cation, but we should not forget that this tion an integral part of campus life (uni- external audiences. attempt was intended as an assistance versities, conservatories, schools of music) Furthermore museums of musical instru- to the curator in a field that had hard- and of the community at large. The value ments should have in mind that school ly been described before. It should offer these institutions attach to artistic expres- children of today are future researchers, quantitative, morphological, hierarchical- sion, irrespective of form and venue, in- donors or patrons. As future parents they ly structured and in the end constructed fluences and determines the perception will only be able to educate their children criteria to the curator. It is not thought of students as well as citizens and should in a way that appreciates the values of to give qualitative insights into historical prepare them to become future patrons museums, science, and arts, if they were reality. Organology should indeed inclu- of the arts and museums in their com- impressed and inspired in their own youth. de more aspects of Sachs’ research, i.e. a munities. If material culture is viewed by The public engagement of a museum of contextual approach considering the per- institutions and universities as tangential musical instruments should have a po- spective of contemporary players, com- to the central mission of higher educati- sitive effect on the quality of life in the posers, instrument makers, and audience. on; if collections and museums of musical community. Thus, the museum should of- Thus, the concept of an “auditory culture” instruments are seen as outlets for aes- fer the widest possible access to its collec- in modern musicology is very much appre- thetes and artists rather than as a cruci- tions, programs and staff. By promoting ciated. This is about the question of how al center for teaching, learning, resear- interdisciplinary cooperation and aca- sounds, noises and music shape a culture. ching, and expression, the museums and demic partnerships, by engaging a wide While the visual design of everyday cul- collections will always struggle to make cross-section of the public, by enhancing ture has long been the subject of scienti- their presence felt beyond a limited circle research access, and last but not least by fic research, the “auditory” or “sound” de- of devotees. To my mind studying musico- valuing artistic expression of any kind, sign of everyday culture seems to be po- logy or music without the knowledge of museums and collections of musical in- orly understood. Focusing on sound would historical performance practice, tutorial struments can be a source of wisdom, de- not only provide the key to a deeper un- material, historic practical music educati- light and inspiration. derstanding of compositions, it would al- on or building of musical instruments is Heike Fricke so foster the significance of organological only superficial knowledge. Integrating, studies in practical music education. The for example, some aspects of duties and

8 CIMCIM Bulletin · October 2013 Quo vadis, organology?

Organology Today - to choose to copy for regular performan- to an apparent chaos in brasswind design a Personal Approach ce use can only be answered with a de- in the nineteenth century from which the Recent discussion of the concept of ‘Cri- tailed knowledge of extant historical in- present-day instruments have emerged by tical Organology’ on AMIS-L has (at its struments, their place in history and their a process of ‘survival of the fittest’. most positive) reflected on the fact that present state. It is common to talk about the evolution of the study of musical instruments draws Concern with period instrumentation is instruments. The analogy with biological on many disciplines. As a result, not only not new. Forsyth wrote (about the french scholarship suggests the use of the word do scholars who consider themselves pri- horn) in 1914: ‘One could wish that the ‘taxonomy’ for the study of the various in- marily organologists often have to apply music of the old masters should be per- strument models and their relationships. the knowledge and skills from other dis- formed only on the instrument for which In the field of natural history, taxonomists ciplines to their own research, but from it was written’ [1]. There is, of course, no do not merely wish to classify species for time to time scholars whose background one perfect or even optimal historical per- convenient handling of museum spe- and outlook is formed in other fields will formance of any music from the past, and cimens and written descriptions, but also make contributions to the study of musi- ‘the instrument for which it was written’ to suggest the evolutionary relationships cal instruments. These can come as a sur- is rarely a straightforward choice. Even between species. With artefacts, as op- prise, not least to organologists who are if a close approach to some ideal instru- posed to natural entities, there is no re- focussed on studies of instruments and ment and performance practice could be quirement for a new species to have evol- instrument making. reached, it might not be the most enjo- ved from a previous species: objects can be Multidisciplinary research is not only yable for the audience or the most profi- new inventions. However, completely new fashionable, it can be very fruitful. Import- table for the performers. But every closer musical instruments are rare. Although ant advances can be made by studying the approach to historic performance is at the some types such as the ophicleide, saxo- development of instruments as cultural very least a piece of worthwhile research, phone, cornet, and tuba could have been phenomena which reflect the sound ideals improving collective knowledge about the claimed to be new, many developed while of their particular times and places, and in sound-worlds of the past. keeping the name and some of the cha- turn expressing the wider cultural outlook. An important role of organology is to pro- racter of a predecessor. The instruments The study of instrument making as a trade vide the most complete and reliable infor- designed for the purpose of performing, with the approach of a corporate historian mation which practising musicians and say, orchestral trumpet parts have been or an economic analyst can lead to intere- instrument makers can then draw on, and very varied, but each generation has to do sting results. Approaching instruments as make their decisions in full possession of justice to the existing trumpet repertoire. acoustical devices can throw light on the the facts. Authenticity can be a research The concepts of evolution and taxonomy history of their development and the rea- aim, rather than a strict rule for perfor- are more than metaphor in this situation. sons for the invention of new models of mance. Even when audiences do not pre- Often there is a need for an objective as- instrument. fer their music to be authentic, and players sessment, a set of parameters. The infor- However, mainstream or ‘pure’ organolo- wish to limit their efforts in this directi- mation derived from playing surviving in- gy has not yet exhausted its potential for on, knowledge of the sounds and styles struments is certainly valuable, but is al- illuminating musical activity. While wel- appropriate for period instruments are of ways highly subjective. Some surviving coming multidisciplinary approaches we value in informing the inevitable compro- instruments are not playable for various should not discount traditional studies mises. reasons, but can be investigated by benign of instruments in museum and other col- How does one recognise an authentic in- acoustical techniques; yet more may be lections. There is a case for studying the strument for a certain repertoire? How not in good enough condition for acousti- surviving instruments themselves in fresh well-matched to time and place does an cal investigation but can be physically me- ways. instrument model need to be? Does the asured. Much organology has, perhaps, concen- well-equipped brass or woodwind player The number of measurements required for trated on dating inventions and the ear- need to have one instrument from each a faithful reconstruction of an old instru- liest appearance of new models of instru- decade of the 19th century and from each ment is large. Obviously some are more ment rather than on characterising the national school? Experience would sug- important than others. We would expect instruments in common use. One aim, gest that in terms of the tonal qualities a 25% increase in mouthpiece cup volu- perhaps the main aim, of organology is and the playing possibilities of wind in- me to have a significant effect on sound to inform ‘authentic’ performance of in- struments, developments in instrument and playability, whereas a 25% increase strumental music on instruments appro- design have been very uneven: periods in bell garland width might be impercep- priate to the place and time of the origin of stasis have been interspersed by peri- tible. To re-create the sound of an early of the music. All too often as a matter of ods of rapid change. A British trombone 20th century British orchestra, one would convenience players today use ‘historical’ of 1950 can differ little from one of 1880, need trombones of appropriate bore dia- instruments which superficially look like, yet a German trombone of 1850 may be meter, but it would matter relatively little but do not sound like, the original instru- very unlike one of 1840. The largely new if the instrument used were raw brass or ments. The question of which instruments repertoire for band instruments gave rise silver-plated. The factors affecting sound

CIMCIM Bulletin · October 2013 9 Organology Today – A Personal Approach

quality and playing characteristics need to ally all respond to the player and sound of instrument makers (e.g. properties of be prioritised. differently. After discussing valved brass their patterns and mandrels), to the audi- Where possible we should find objectively instruments in some detail, Carse (1939, ble character of the instruments (e.g. the measurable parameters that reflect a pla- p.315-6) states provocatively: radiation characteristics of the bell flare) yer’s experience of an instrument and con- and the feel to the player (e.g. the input tain the information in a form which can “... the field is limited, and there is not room impedances). Ideally there should be one be measured on unplayable instruments for any great variety between the tone-qua- or more quantities that remain constant, and can be repeated by researchers else- lity of the cornet and that of the bugle, or at least change slowly and continuous- where. In assessing the fitness of an in- whether large or small; nor does the admix- ly, when an instrument undergoes an ‘evo- strument for historical performance, one ture of trumpet-, horn-, or trombone-bore, lutionary’ development. would look first for a good match of the and their characteristic mouthpieces, supply A step forward was taken with the for- most significant parameters. Such a set of sufficient variety to provide very many new mulation of the ‘Brassiness Potential’ parameters would also highlight the really and clearly different tone-qualities .... The parameter [3, 4] which goes a long way important advances in instrument design, flügelhorns and contralto saxhorns, the ten- towards meeting the need for a quanti- and allow a history of instruments to be orhorns and baritones, the tubas and bom- ty that remains fairly constant as an in- written in fresh light. Instrument selection bardons may be differently named in each strument evolves. More work remains to is often carried out at present by a mix- country, or may even be differently named be done on the further parameters needed ture of expertise and guesswork, subjec- in the same country, but their nomenclature to positively identify different models. A tively, unrepeatably and unduly influenced is always more varied than their tone-qua- necessarily simplified and low-granularity by expediency. lities. Different widths of bore and diversi- version of this approach was used to revi- Brass instruments can be particularly dif- ty of mouthpiece-cup will give variety of se the brasswind section of the Hornbo- ficult to come to grips with, since the dif- tone-quality within a certain radius, but that stel-Sachs classification [5] in the course ferent types of instrument seem to overlap radius is limited in extent. In the highest re- of the MIMO Project. Since the Hornbo- and merge into on another. A reed instru- gister, the field of brass instruments in high E stel-Sachs classification has to be usable ment is either sufficiently conical to over- flat, it matters little to the hearer whether the by non-specialists, detailed measurements blow at the octave or sufficiently cylindri- instrument be a trumpet, cornet, saxhorn or could not be required to operate this clas- cal to overblow at the twelfth: there is no flügelhorn. In the contralto or B flat register, sification. However, if one can invest an middle ground of practical use. But with there is room enough for the cornet and the hour or so of time to measure an instru- brass instruments there are so many in- flügelhorn, but hardly for anything in bet- ment, the level of knowledge has almost termediate possibilities that the division ween the two. So it is in the tenor or E flat re- been reached which will allow the results into conical or cylindrical is too simple for gister, the baritone and the bass registers; we to be interpreted placing the instrument serious use. Finding a set of parameters to can admit instruments which are large-sized in a high-resolution taxonomy fit for mu- characterize brass instruments is not easy cornets or large-sized bugles, but anything sical purpose - if it were, it would have been done long between these two makes the distinction too Arnold Myers ago. The broad-brush classifications used fine for ordinary ears, and therefore too fine by authors to arrange material in books, for practical use ...” [2] REFERENCES and by museums to arrange displays and catalogues have no precisely stated cri- Carse may or may not be correct in sug- [1] Cecil Forsyth, Orchestration. London: Mac- teria or tests. Terms such as ‘conical’ and gesting that ‘ordinary ears’ can distingu- millan, 1914. [2] Adam Carse, Musical Wind Instruments. ‘cylindrical’ have intuitive meaning but are ish no more than two differing types of London: Macmillan, 1939. not rigorously defined. Simple classifica- brasswind in each register. However, there [3] Arnold Myers and D. Murray Campbell, ‘Bras- tion schemes may distinguish satisfacto- is no doubt that trained musicians can siness and the characterization of brass musical rily between the types of instrument in recognise more than two types, if not as instrument designs’. Echoes: The newsletter of use before the invention of the valve, but auditors then certainly as performers. The The Acoustical Society of America, 18 (3) Sum- mer 2008. http://scitation.aip.org/journals/doc/ fail to give clear places to new types such continued production by individual ma- ASALIB-home/corp/pdf/echoes/vol18no3.pdf as the cornet, the bass tuba, the saxhorn, nufacturers of a wide range of instru- [4] Arnold Myers et al., ‘Effects of nonline- the bass trumpet and the Wagner tuba, let ments as well as differing models of the ar sound propagation on the characteristic alone discriminate between different mo- most popular instruments, nominally the timbres of brass instruments’. Journal of the dels of nominally the same instrument. same type, is commercially justified only Acoustical Society of America, 131 Issue 1, 2012, pp.678-688. The inventiveness of instrument makers by purchasers perceiving differences. Ta- [5] Revision of the Hornbostel-Sachs Classifica- has been such that no taxonomic system xonomy can be regarded as reflecting a tion of Musical Instruments by the MIMO Con- is likely to present in a simple structure the classification by sound ideal. To belong to sortium, http://network.icom.museum/cimcim/ full diversity of brasswind design. the same taxa, instruments should convert resources/classification-of-musical-instru- ments/ It is a valid question whether the hund- a similar output from a player into a si- Note: this article is based on the author’s arti- reds of nominally different instruments milar input for a listener. The parameters cle, ‘Organology: a Position Paper.’ Historic Brass developed in the nineteenth century re- should relate to factors under the control Society Journal, 12, 2000, pp.viii-xi.

10 CIMCIM Bulletin · October 2013 Thoughts on Organology as a Discipline of Musicology and Performance Practice

Thoughts on Organology as a man youth hostel organization, museum the organology M.M. program are prima- Discipline of Musicology and curators and conservators in Munich and rily taught by the NMM’s curatorial staff, Performance Practice Stuttgart were skeptical about giving a the senior members of which hold facul- Introduction and Personal Perspective young student with no formalized practi- ty status as USD professors. The degree cal training access to the precious original is described as follows: “The Program of Music, as it developed in each stage of objects. With persistence and persuasion Study for this Master of Music degree is its history, is closely linked to the nature and under the supervision of the conser- a flexible one, designed to meet the needs of the instruments on which it was per- vators at the Deutsches Museum and the of students with a wide variety of back- formed—with the exception of pure vocal Stadtmuseum in Munich, I did eventually grounds, training, and interests. Students music. To appreciate music and histori- succeed in getting access, and catalogued can choose to focus on conservation, re- cally-informed performance practice, we the clavichords in these collections. search, cataloging, and/or performance therefore need a thorough knowledge Although the situation is somewhat dif- practices, among others that best suit the of the technological, social, and cultural ferent now, with institutions such as the student’s needs and interests.” development of these instruments. Stu- Musikinstrumentenmuseums in Leipzig While the students of this program attend dying the instruments of each successive and Berlin being part of or working closely general courses at the Department of Mu- period is essential, not only to understand with universities, the study of the history sic (including music history and music bi- compositional techniques and for scholar- of musical instruments in Germany is still bliography), instrument and museum re- ly purposes, but also for the performance a neglected field within the wider area of lated subjects are specifically taught at of the music of past eras on modern in- musicology, partly perhaps because it re- the NMM. The most important courses are struments. quires skills and practical knowledge far the History of Musical Instruments: Cultu- Information on the development of mu- removed from the main curriculum of ral Aspects and Technical Aspects, and In- sical instruments can be gained from a musicological training. There is, however, troduction to Museum Studies. Depending variety of sources, such as iconography, still an inexplicable snobbery among mu- on the particular interests and needs of theoretical writings, musical scores and sicologists—not just in Germany but also current students, additional courses (for contemporary descriptions (trade cata- in the United States—that regards prac- example, on musical iconography, on the logs, diaries, newspaper articles and li- tical knowledge based on workmanship, uses of musical instruments in religion terary works). However, the historic in- with all its ancient traditions, as inferior to and ritual, or on the Javanese gamelan) struments themselves are naturally the theoretical studies in music. are also offered on occasion. Only one or most informative source. These sometimes two fulltime students are admitted each Master of Music with a Specialization in reside in the hands of musicians, but are year, and this is on condition that they the History of Musical Instruments at the more often stored in museums speciali- also qualify for a graduate assistantship. National Music Museum, University of zing in musical instruments, or in museum Furthermore, students from other areas South Dakota departments dedicated to them. Collected within the music department (such as as historic objects and primary sources, In the United States there is only one in- music history, education and performance musical instruments pose the problem stitution that offers a graduate degree in master students) are also permitted to that their handling has to be restricted for organology, the Master of Music with a participate in selected courses. For full- reasons of preservation. Their main pur- specialization in the History of Musical In- time students a combination of academic pose of course is to be played, but this is struments centered at the National Music studies and on-the-job training provides seldom possible without concerns for the Museum (NMM) at the University of South professional experience within the ope- long-term safety of the object. This is a Dakota (USD) in Vermillion, S.D. With its rations of the NMM. Each student con- particular problem for any student who collections of over 15,000 American, Euro- cludes the master program with a sub- wishes to learn more about the history of pean, and non-Western instruments from stantial thesis utilizing the collections at his or her musical instrument. the 16th century to the present, and exten- the NMM but often involving additional When I tried to enter the field of organo- sive archival collections that concentrate research at other collections or in the field. logy (the study of the history of musical on the American musical instrument in- Recent thesis topics have included studies instruments) as a student of musicology dustry of the 19th and 20th centuries, the of Czech bagpipes, the life and work of the in Tübingen (Germany) in the late 1980s, NMM offers students learning and rese- Florentine harpsichord maker Vincenzio I met many obstacles. My interest at that arch opportunities in one place.1 Although Sodi, and the impact of the Second World time was the clavichord, and my supervi- the M.M. degree in organology is admi- War on the American musical instrument sor, Prof. Dr. Manfred Hermann Schmid, nistered through the USD Department industry. suggested that cataloging instruments in of Music, one of the three academic de- This program has been in place at the nearby southern German collections (Mu- partments of the College of Fine Arts (the NMM/USD since the 1970s. Curators and nich and Stuttgart) would make a worth- others being Art and Theatre), students in conservators of important musical in- while master thesis. Although I had gained strument collections and music related 1 Further information about the NMM can be practical experience by making a clavi- found at www.nmmusd.org and www.facebook. museums in the United States (e.g. Bo- chord in a course offered by the Ger- com/NationalMusicMuseumUSA. ston’s Museum of Fine Arts, the Metropo-

CIMCIM Bulletin · October 2013 11 Thoughts on Organology as a Discipline of Musicology and Performance Practice

The National Music Museum in Vermillion litan Museum of Art in New York, and the tutions, but also from my supervisor who Georgia Music Hall of Fame) have earned had a background in museum work. Working with the collections. an M.M. degree in the History of Musical At the NMM, on the other hand, teaching Instruments from the University of South starts with direct contact between the ching faculty members in a variety of sub- Dakota.2 students and the instruments under the jects, and their research activities, show guidance of the conservator and the cura- the students not only the current standard Teaching Methods and Experiences tors, and is highly personalized. The ency- in each respective field of expertise, but al- Compared with my own early experience clopedic collections allow it to address a so engage them in the process of research with organology, taught within the field wide variety of historical and cultural que- and inspire them to be active as resear- of musicology at the University of Tübin- stions related to the development of many chers themselves. They also receive gui- gen—and as such an exception in the Ger- different types of instrument, by handling dance in publishing their own work. man musicological landscape—the Natio- and carefully examining original examples. For me personally, teaching provides a nal Music Museum on the campus of the Technical and historical aspects of the de- welcome opportunity to discuss my the- University of South Dakota offers an ideal sign of musical instruments can therefore ories, ideas and quests before publishing situation. In the 1980s Tübingen had no be taught in a way that the study of ico- them. It gives me the opportunity to enga- musical instrument collection,3 and the nography and theoretical writings alone ge with the students in a lively discussion study of musical instruments was taught cannot convey. By handling an instrument and encourage them to conduct their own as an academic subject, limited to a few personally, students can grasp more easily research; at the same time they inspire museum visits and an emphasis on mu- how designs were influenced by practical me with new ideas and challenging que- sical iconography and the study of the- necessities and how they changed over ti- stions. Training, based on a direct contact oretical writings. My difficulties in ente- me. Cataloging and measuring under the with the primary sources, fosters critical ring the world of musical instrument mu- teacher’s guidance, together with discus- thinking and encourages the students to seums and collections to get access to sions on acoustical testing methods, allow examine secondary writings carefully and the instruments themselves reflected the insights into technical details that are very critically, and to develop their personal lack of available staff to provide training difficult to teach in any other way than by views and ideas that may be contrary to for the younger generation in the skill of hands-on experience. Students learn sy- common beliefs. An environment in which handling historic musical instruments as stematic categorization by being guided students work side by side with faculty primary sources. Once I had passed that in their observations of the instruments in members going about their daily work as hurdle, I got valuable advice, primarily the NMM’s collections; they learn where conservators, catalogers, administrators, from conservators of the respective insti- objects are vulnerable and should be and researchers deepens the students’ handled with particular care; they learn to work experience. Visiting specialists give 2 More information can be found at http://orgs. distinguish between original and replaced the students access to networking oppor- usd.edu/nmm/GraduateStudy/academic.html. In- substance; they gain experience in resto- tunities, and a chance to engage in profes- quiries can be addressed to Prof. John Koster ([email protected]). ration, setting up exhibitions, and utilizing sional discussions. 3 Now it houses a collection of wind instru- archival material as primary sources—all Teaching at the NMM is not limited to gra- ments donated by Dr. h.c. Karl Ventzke. in one place. The specialization of the tea- duate level. Age-appropriate teaching for

12 CIMCIM Bulletin · October 2013 Thoughts on Organology as a Discipline of Musicology and Performance Practice

ve musical instruments been increasingly specified in musical scores, and even then, sometimes for the advertising purposes of publishers rather than to reflect the expli- cit intentions of the composer. Even com- posers such as Richard Wagner, whose in- terest in specific timbres is well known, were sometimes unspecific when it came to detailing instrument designs—contrary to common belief. Wagner left decisions to find the right instruments for his music largely to musicians, music directors, and instrument makers, for example in regard to the bass trumpet.3 Besides the study of scores and other re- lated primary sources, solid knowledge of musical instruments that were availa- ble to composers in their time is therefo- re essential to the understanding of ma- ny compositions. In the case of Richard Wagner, wind instruments in use in the military were more advanced than those used in the orchestra, and understanding cross-cultural influences is therefore im- portant in analyzing his music. Since far more military wind instruments survive from the second half of the nineteenth century than orchestral instruments, a de- tailed and comprehensive study of these can be highly beneficial. With historically informed performance practice expanding into the nineteenth century, interest in the use of the correct Having a closer look at the Kraemer clavichord. instruments continues to grow. It is th- erefore important to offer the study of the school visits is offered from kindergarten since ancient times for signaling over long history of musical instruments as an inte- to high school and college students. Cer- distances, and for the expression of joy or gral part of musicology at universities as tain parts of the collections, for example sadness on the journey through life. Stu- well as in performance-oriented training the Joe R. and Joella F. Utley Collection of dying musical instruments is therefore an at conservatories and music schools. Uni- Brass Instruments, are rich in reproduc- essential element in studying humanity. versities with important musical instru- tions of historical instruments that can The cultural significance of musical in- ment collections are ideally placed to ful- be used for playing. Utilizing these repro- struments has been described more clear- fill this role. In locations where both mu- ductions together with demonstrations of ly by ethnomusicologists than musicolo- sical instrument collections and teaching video recordings, played by experts, helps gists who specialize in Western music. The facilities in musicology, music history and students to understand the development reason for this discrepancy is that musical performance practice are present, a colla- of their instrument with hands-on playing instruments are often the only physical boration is highly desirable, even if these experience and gives them new insights evidence of oral traditions in non-western institutions are not combined under one into historically informed performance of cultures, while Western music has been administrative roof. older repertoire on modern instruments. relying for centuries on musical notation Sabine Klaus as its primary physical source. The use of The Importance of Organology for Musi- the correct instruments for the realizati- cology, Performance Practice, and Cultu- on of Western music is often considered ral Studies to be secondary. This attitude is primarily Making music with the help of a musical rooted in the habit of regarding written 3 Erich Tremmel, Blasinstrumentenbau im instrument is a fundamental human acti- evidence as higher than material culture. 19. Jahrhundert in Südbayern, Augsburg 1993, vity. Musical instruments have been used Only since the seventeenth century ha- p. 200–210.

CIMCIM Bulletin · October 2013 13 Minutes of the CIMCIM General Assembly

Minutes of the CIMCIM so made to ICOM, with the help of Ma- Vice-President: Gabriele Rossi Rognoni (It- General Assembly rie-Hélène Serra, for financial support of aly), Secretary: Bradley Strauchen-Scherer 26 July 2013, the planned CIMCIM-MIMO portal. Gabri- (USA), Treasurer: Patrice Verrier* (France); Faculty of Music, ele Rossi-Rognoni was named to repre- Advisory Board: Eric de Visscher (France), University of Oxford, UK sent CIMCIM on the board of the restruc- Darcy Kuronen (USA), Golnaz Golbasahi tured Association RIdIM. (Iran), Frank Bär* (Germany), Alla Bayram- By its own tally CIMCIM currently has 110 ova* (Azerbayjan), Zhang Xiang* (China) Attended by: members, 30 of whom are CIMCIM ‘sub- Frank P. Bär, Silke Berdux, Susana Caldei- scribers’. The ICOM membership database This year, a shorter voting period was ra, Eszter Fontana, Olaf Kirsch, Mats Kro- lists approximately 70 registered members used to try to encourage more members uthén, Lawrence Libin, Patrícia Lopes Bas- of CIMCIM/ICOM, but the number is prob- to vote. Elections seem to lose momentum tos, Sandi LeConte, Christina Lisenmeyer, ably larger, due to the continuing problem when the voting period is too long. Voting Monika Lustig, Arnold Myers, Sonja Neu- of delays and inaccuracies in membership procedures were addressed at the assem- mann, Panagiotis Poulopoulos, Brad- logging within ICOM. 2012 figures record bly and by correspondence preceding the ley Strauchen-Scherer, Lisbet Torp, Mimi 98 CIMCIM/ICOM members. assembly. While the assembly had no is- Waitzman, Elizabeth Wells The President thanked the outgoing board sues with the 2013 election per se, it was Board members in attendance: Darryl members, all of whom served two three- generally felt that voting procedures Martin (Advisory) Gabriele Rossi-Rognoni year terms: Christiane Barth (Treasurer), should be reconsidered to ensure com- (Vice President), Bradley Strauchen-Scher- Martin Elste (Advisory), and Darryl Martin plete anonymity throughout the process. er (Secretary) Lisbet Torp (President) Eric (Advisory). Suggestions included investigating online de Visscher (Advisory) voting services and contacting ICOM for 2. Financial Report 2012/2013 Apologies: Christiane Barth, Martin Elste, advice on how other international com- Darcy Kuronen, Heike Fricke Copies of the CIMCIM Statement of In- mittees handle voting and to ascertain if come and Expenditure, prepared by the ICOM offers any voting services or sup- 1. President’s Report Treasurer, were circulated to the General port. The President thanked the 2013 confer- Assembly for review. CIMCIM holds an ac- 5. Future CIMCIM meetings ence organizing committee, headed by count in euros (current balance € 30,168). Andrew Lamb and the programme com- A subvention of € 4,645 was received from 2014: This meeting will be held in Scandi- mittee (Bradley Strauchen-Scherer, Lance ICOM. The ICOM subvention, which is in navia from 23 August to 1 September and Whitehead and Michael Flemming). part based on membership numbers, var- will visit a number of locations includ- The principal CIMCIM event of 2012 was ies from year to year and was € 2,916 in ing institutions and collections in Stock- the meeting in New York, which was host- 2012. The CIMCIM US dollar account has holm, Turku, Copenhagen, and Trondheim. ed by Metropolitan Museum of Art, AMIS been closed out. A comprehensive presentation including and the Manhattan School of Music. The the itinerary was given at the Assembly. 3. Budget 2013/2014 conference was well-organized and a Through the efforts of the organizing great success. It was attended by 129 del- Various projects were discussed as ways to committee, funding has been secured to egates, 56 of these being ICOM/CIMCIM deploy some of the surplus funds in the greatly subsidize travel between venues members. CIMCIM account. Some of this money will and to defray the conference costs. At the 2012 general Assembly it was be used to employ the services of a website decided to search for an alternative meet- designer to fine-tune the CIMCIM website. 2015: CIMCIM has accepted an invitation ing venue to the ICOM conference at Rio. CIMCIM has agreed to contribute € 6,000 from the Glinka Museum, Moscow and Thanks were extended to the Galpin Socie- to the MIMO portal project in 2013/2014. preliminary planning is under way. ty for its invitation to join the Oxford 2013 An additional € 6,000 will be contribut- 2016: CIMCIM will join the ICOM confer- conference. ed in 2014 to support subsidies for new ence in Milan Board activities during 2012 included member museums from non-European 2017: Invitations have been received from a number of meetings, discussions and countries. The President asked for and was China and from Nuremberg communications. The President and Vice granted support from the Assembly floor 6. Renaming of CIMCIM President attended the annual meet- for these expenditures. Travel grants will ing of ICOM in Paris in June. Two CIM- continue to be offered for attendance of The idea of renaming CIMCIM to reflect CIM board meetings were held in Paris. CIMCIM conferences. a broader perspective and scope was dis- These were attended by Lisbet Torp, Ga- cussed. The name’s exclusive focus on 4. Elections to the CIMCIM Board briele Rossi-Rognoni, Eric de Visscher and musical instrument collections and mu- Marie-Hélène Serra (MIMO). Board mem- 27 votes (10 by e-mail, 17 at the Assembly) seums may be off-putting to some mu- bers also had several meetings via Skype. were received, with the results as follows seums/members that have not yet joined The CIMCIM activity and financial reports (* denotes new board members): CIMCIM. A name change could represent were filed on time. An application was al- President: Lisbet Torp (Denmark), their interests more prominently, as well

14 CIMCIM Bulletin · October 2013 Minutes of the CIMCIM General Assembly

as more accurately reflecting the remit sical instruments and to establish an in- Repertoire International of many current members’ museums. It formation point on the web for those in- d’Iconographie Musicale could also potentially avoid the formation terested in training to become musical in- of a separate group for these institutions. strument conservators. As some members could remember, Concern was expressed over changing the CIMCIM is one of the founding institu- 10. Suggestions for new working CIMCIM acronym, which could jeopard- tions that created RIdIM (the Repertoire groups ize its identity and would require exten- International d‘Iconographie Musicale) sive rebranding. The possibility of keeping The following working groups were pro- together with the International Musico- the acronym but broadening the remit in posed: RIdIM working group; working logical Society and the International Asso- the group’s description was raised. Input group for instruments from East Asia. Ex- ciation of Music Libraries, and therefore is is invited from all CIMCIM members and pressions of interest should be sent to the formally represented in the RIdIM Board. should be sent to the CIMCIM secretary. Secretary. This connection, silent for many years, was revived a few years ago and the CIMCIM 7. MIMO project funding and update 11. CIMCIM website Board appointed three members to act as CIMCIM’s application to ICOM for portal The CIMCIM website has been moved from liaison officers: Arnold Myers, Martin El- funding was unsuccessful, but CIMCIM the University of Edinburgh web server to ste, and Renato Meucci. was encouraged to submit another appli- a server maintained by ICOM. This required Following a recent restructuring of the le- cation. Frank Bär reported that the MIMO the reconfiguring and reformatting of gal asset of RIdIM, CIMCIM was requested database is now independent and is no content. The CIMCIM Board will enlist the to appoint one single liaison officer, and I longer hosted by Europeana. The database services of a web designer to optimize the was designated as such, while Arnold My- is accessible over the internet in the form clarity and functionality of the website. ers is now vice-President of the newly es- of a pared down portal but work needs to The Secretary is putting together a brief tablished Association RIdIM. be undertaken to make it more attractive for the web designer and welcomes sug- and accessible. MIMO retains the goal of gestions from members for features and I attended my first meeting in Istanbul becoming a worldwide service with one content by 15 November 2013. on June 5th-7th and the Board meeting access point. Various African collections on June 6th and was very favorably im- 12. CIMCIM publications will be joining MIMO via MIM Brussels. It is pressed by the efficiency of the organi- hoped that American collections will join. The CIMCIM Bulletin editor Heicke Fricke zation, quality and number of the papers, submitted a report that was read in ab- and warmth with which our (CIMCIM) 8. RIdIM sentia. The Bulletin needs the support presence was welcomed by the Board, so Following a recent restructuring of the of members to remain viable. She urged that I think that there is actually much legal assets, RIdIM has now been set up members to be more active in submitting space for a more intense collaboration in as the Association RIdIM. CIMCIM was re- news and announcements of exhibitions, the future. quested to appoint one single liaison of- publications, research and findings, CDs, Among the most relevant topics discussed ficer, and Gabriele Rossi-Rognoni has DVDs, etc. and announcements of upcom- at the meeting, were the implementation been designated to serve in this capacity. ing events and future plans. The next Bul- of the database that RIdIM has been de- Association RIdIM held an international letin will be published in May 2014. Please veloping for years in partnership with a conference in Istanbul on 5 – 7 June 2013, e-mail your information, texts or pictures private company, and that reached its 5th where CIMCIM members were warmly re- to [email protected] version by now, under the coordination of ceived and collaboration was encouraged. Dorothea Baumann (Secretary of RIdIM). 13. Any other business We were shown the database during one 9. Brief reports from the current Patrícia Lopes Bastos extended thanks to of the sessions, and it looks a very promis- working groups CIMCIM for the present conference and ing support to iconographic research (you Museum Sigla: Arnold Myers has headed support of ANIMUS. She extended an in- can see its present state at up the effort to create a list of sigla for mu- vitation to the next meeting of ANIMUS http://db.ridim.org/). seums. This work has been carried out as in Portugal. The database now contains 3,300 items, of part of devising museum sigla for the New which about 1,400 are published, and the Grove Dictionary of Musical Instruments Sandi LeConte drew the attention of mem- number seems to be increasing fast. and Myers has worked closely with NGDMI bers to the COST ‘Wood Musick’ project. At the same time RIdIM is developing a editor Lawrence Libin. The list is also com- This EU project aims to foster research on large number of collaborations with in- patible with RISM sigla. It will be published wooden musical instruments by bring- stitutions and other associations, to try in NGDMI and also on the CIMCIM website ing together the work of curators, con- and enrich the database with large bulks and will be maintained by Arnold Myers servators, wood scientists, chemists, ac- of data, under the forceful hand of De- Conservation: This group has met twice. It ousticians, organologists and instrument bra Pring (Executive Director of the Inter- is working to establish a web list for log- makers. national RIdIM Centre). Among these are ging planned conservation work on mu- Bradley Strauchen-Scherer collaborations with the Rijksbureau voor

CIMCIM Bulletin · October 2013 15 CIMCIM Conference 2014

Kunsthistorisches Documentatie (RKD) in The Hague, Université Paris-Sorbonne, Université de Poitiers, CNRS, Metropolitan Museum of Art in New York, Asociación Española de Documentación Musical (AEDOM), Universidad Complutense de Madrid, and Princeton University. Many more are planned. A potentially very interesting development that could derive from a closer collabora- tion among RIdIM and CIMCIM could be represented by the possibility to provide data to the RIdIM database about musi- cal iconography kept in musical instru- ment museums: many museums, in fact, host paintings or painted instruments, and these did not find a specific space within the well known MIMO project (see www. mimo-international.com), so that I see the The Swedish room. possibility of a new project to be devel- Nydahl Collection at Stiftelsen Musikkulturens främjande, Stockholm. oped here. Welcome to the Nordic countries & the Day 1 – Stockholm, Sunday 24. August I would be delighted to give further infor- Nordic Music Museums! Morning Conference opening at Stiftel- mation and to pass the appropriate con- sen Musikkulturens Främjande tacts to any member who is interested in Music & Theatre Museum, Stockholm; developing this collaboration. Stiftelsen Musikkulturens främjande, Paper session: The historical collector as Gabriele Rossi-Rognoni Stockholm; The Sibelius Museum, Tur- entrepeneur: reasons, means, and back- ku; The National Museum of Denmark / ground for collecting – From private to The Danish Music Museum, Copenhagen; public collections CIMCIM Conference 2014 Rockheim Trondheim; Ringve Music Mu- Lunch in the Nordic countries seum, Trondheim. Afternoon Visit at Swedish Music Hall of Fame The CIMCIM conference in 2014 will be Program Evening Buffet and concert held in four cities Stockholm (Sweden), Main topic: Collectors at Music Museums Turku (Finland), Copenhagen (Demnark) – reasons & means Day 2 – Stockholm/Turku, and Trondheim (Norway). The main topic The collections are the core of the mu- Monday 25. August is ”Collectors at Music Museums – reasons seum. But how are they built up? And Morning Paper session: Do we need mo- & means” (see Programme). There will also in what way will we, as museum cura- re square pianos in the collection? – Mu- be offered visits to the exhibitions at the tors collect musical instruments, music, seum collections at the beginning of the hosting music museums, excursions and and related objects in the future? Are we 21st century concerts. prepared to change our role of collec- Lunch The fee is estimated to be at about €510 ting in accordance with changes in socie- Afternoon Bus transport and visit to (depending on funding), including trans- ty (globalization, economical & ecological the storage of Musik- och Teatermuseet ports during the conference (ferry Stock- changes etc.)? How does the entrance of Bus transport to the harbour and depar- holm – Turku, flights Turku – Copenhagen popular music as a museum field change ture from Stockholm to Turku by boat & Copenhagen – Trondheim and transfers), our ways of collecting? Evening Paper session: Free papers (Boat) lunches, museum entrances, concerts, pa- Dinner on the boat per sessions, conference material & recep- Day 0 (Pre-Conference) – Stockholm, tions. However, the fee will not include ho- Saturday 23. August Day 3 – Turku, Tuesday 26. August tels, transfers to/from the conference, or Morning Arrival Breakfast on the boat (optional) dinners. Call for papers for the conference Afternoon CIMCIM Board Meeting at 7:35 Arrival at Turku harbour will be sent out in October/November. Stiftelsen Musikkulturens Främjande Guided tour and bus transport to hotels in Contact: Mats Krouthén, Ringve Music Evening Social gathering, concert and the city centre Museum [email protected] reception Leisure time; Lunch on your own Afternoon CIMCIM General Assembly Concert at Sibelius Museum with

16 CIMCIM Bulletin · October 2013 In the Nordic Countries

Francis Palmer Orpharion, 1617. Music Museum/ National Museum of Denmark, Copenhagen. The concert hall. Sibelius Museum, Turku.

Pekko Käppi on bowed lyre Afternoon Guided tours/visit to the Break at the hotel (leisure time) Evening Cocktail with snacks (Stiftelsen exhibition (Musikmuseet) Evening Dinner at Rockheim Panorama för Åbo Akademi’s Reception at the Obser- Late afternoon Reception (the Ceremo- (optional) vatory in Vårdbergsparken) nial Hall of the National Museum) Concert at Rockheim Dinner on your own Evening Dinner on your own (Musikmuseet present at a suggested re- Day 8 - Trondheim Day 4 – Turku/Copenhagen, staurant) Sunday 31. August Wednesday 27. August Morning Guided tour of Trondheim by bus Morning Paper session: Free papers (Sibe- Day 6 – Copenhagen, Friday 29. August Concert and introduction to the cathedral lius Museum) Morning Rosenborg Castle, visit with (Nidarosdomen) and the two organs by Lunch at Hus Lindman guided tour and concert by Violonbanden. Joachim Wagner, Berlin 1739-41, and Ge- Afternoon Bus transport to the City Bus to Rosenborg conservation workshop org Friedrich Steinmeyer, Oettingen 1930. Centre Airport in Brede: Presentation of The Lehman Introduction and visit to the new museum Flight Turku-Copenhagen Kunstschrank at Ringve Arrival Kastrup Airport, Copenhagen Lunch at Brede Spisehus Lunch at Restaurant Tordenskiold Late afternoon Afternoon Bus to Fredriksborg Castle: Afternoon Session: Recording musical Introduction to and ‘hands-on’ ‘Det Klin- The Compenius Organ (introduction and instruments – Sound collections and the gende Museum’ [The Sounding Museum] concert) collection of sound (Musikmuseet) Evening Dinner on your own Closing session Evening Dinner on your own (Musikmuseet present at a suggested re- Evening Farewell dinner at Ringve (op- (Musikmuseet present at a suggested staurant) tional) restaurant) Day 7 – Copenhagen/Trondheim, Day 9 Day 5 – Copenhagen, Thursday 28. August Saturday 30. August Monday 1. September Morning Panel session: Museums as in- 8:40 Departure from Copenhagen Departure – direct connections to London, stigators – Museums as educators (Musik- Arrival Trondheim – Værnes Airport Amsterdam, Copenhagen, and Stockholm museet) Bus transport to Trondheim – check in at Lunch at the Conservatory Canteen hotels Early afternoon Lunch at Rockheim Panorama Notes: Paper session: Ture Bergstrøm: The Leh- Afternoon Introduction and visit in the Panel: 6-8 contributors, 10 min presentation. Questions, debate/discussion (1-2 h) governed mann Kunstschrank at Rosenborg Castle; exhibition by a moderator Ole Beuchert Olesen: The Compenius Org- Paper session: 1 session = 1 1/2 h (3 papers: 20 an at Fredriksborg Castle; [NN]: The Danish Paper session: Popular music in music mu- min+10 min discussion) Rock Museum – Presentation of the new seums – Collecting and/or creating the po- museum (Musikmuseet) pular

CIMCIM Bulletin · October 2013 17 Exhibitions, Conferences

VALVE.BRASS.MUSIC – 200 Years of STIFTUNG KLOSTER MICHAELSTEIN Christopher Clarke (France) Valve Brass Instruments MUSIKAKADEMIE SACHSEN-ANHALT English with a French accent? The Identity FÜR BILDUNG UND AUFFÜHRUNGS- of the French Classical Piano PRAXIS EXHIBITION: 6th December 2013 to 27th April 2014, Musikinstrumenten-Museum Arthur Schoonderwoerd – Artist in 20.00 Lecture and recital Berlin Residence 2013 Michael Günther, Würzburg (Germany) 40th Academic Conference and 32nd Sym- Das Pantalon – Ein verkanntes „Clavier“ der When, in a letter to the Prussian king Fre- posium on musical instrument making Zeit Carl Philipp Emanuel Bachs und seine derick William III dated the 6th Decem- To the development of piano playing ungeahnten Ausdrucksmöglichkeiten ber 1814, the military musician Heinrich from Carl Philipp Emanuel Bach to Mit Werken von C. P. E. Bach, Joseph Mar- Stölzel described his invention, the world Franz Liszt tin Kraus, Wolfgang Amadeus Mozart, Ge- of music could not yet foresee the revo- Michaelstein, November 8 to 10, 2013 org Gebel lution valves in brass instruments would Lectures – Musical demonstrations bring about in the next 200 years of music – Concert Saturday, November 9, 2013 history. It was not just a technical refine- 9.00 – 18.00 Lectures ment but also a tonal and sociocultural AGENDA development in brass instruments, which Friday, November 8, 2013 Detlef Altenburg, Weimar (Germany) continues to the present day. 10.00 Prelude Franz Liszts Instrumente und Klavierspiel Opening with examples of Stölzels design Christoph Hammer, Greifenberg (Germa- im Spiegel zeitgenössischer Berichte with a piston valve from the early 19th ny) on a copy of the Silbermann pianofor- century, the exhibition presents the many te built by Kerstin Schwarz Viviana Sofronitsky, Divisov (Czech Re- different styles of valves in over 130 pre- public) cious and rare instruments. One highlight 11.00 to 18.00 Lectures Specifics of Liszt’s and Chopin‘s piano is the bass tuba in F by Johann Gottfried Kerstin Schwarz, Florenz (Italy) works in connection to their preferred in- Moritz from 1839, which with its five Ber- Die Hammerflügel Bartolomeo Cristoforis struments by Pleyel and Boisselot lin piston valves is the oldest surviving tu- und Gottfried Silbermanns – Zwei ver- ba worldwide. schiedene Klangwelten mit der gleichen Paul McNulty, Divisov (Czech Republic) With this exhibition the Musikinstru- Hammermechanik The special construction and sound of the menten-Museum Berlin celebrates its Boisselot pianofortes in comparison to 125th anniversary and presents for the Bram Gätjen, Köln (Deutschland) these ones of Pleyel first time its rich inventory of valved brass Vom Finger zum Ohr – Das Klavier als instruments. Selected loans from the komplexer Schallerzeugungsmechanis- Recital Edinburgh University Collection of Histo- mus. Gedanken zur Schallentstehung bei Pleyel and Boisselot – sounds in compa- rical Musical Instruments, the National Klavierinstrumenten aus akustischer Sicht rison Music Museum of the University of South Viviana Sofronitsky, Divisov Dakota, the Musikinstrumenten-Muse- Pablo Gómez Ábalos, L‘Eliana (Spain) Alain Roudier, Etobon (France) um Markneukirchen, the Museum Viadri- From the C. P. E. Bach‘s „Probestücke“ to The birth of the double escapement na Frankfurt (Oder), and from the private the Schumann‘ „Studien“ Op. 3. Two diffe- collections of Dirk Arzig and Bruno Kamp- rent ways of thinking body and sound on Thomas Synofzik, Zwickau (Germany) mann complement the inventory of the the keyboard Von Stein zu Steinweg – Clara Schumann Musikinstrumenten-Museum. Numerous und ihre Klavierbauer documents and accompanying artwork Bernhard Klapprott, Weimar (Germany) complete the exhibition. Das „Clavier“ – Zur Verwendung und Be- Arnfried Edler, Hannover (Germany) The opening on 6th December at 7 p.m. deutung des Clavichords von der 2. Hälfte Zum Aspekt des Symphonischen in den will present a concert of PHIL BLECH, the des 18. Jahrhunderts Klavierkonzerten Beethovens und Schu- brass ensemble of the Vienna Philharmo- manns nic Orchestra, conducted by Anton Mitter- Eszter Fontana, Leipzig (Germany) mayr. The program includes compositions Instrument und Spieltechnik im Spiegel Hartmut Hein, Marburg (Germany) of Mozart, Verdi, Mussorgsky, Strauss and der „Clavierschulen“ zwischen 1800 und Beethovens Klavierkonzerte als Spielraum Wagner. 1830 in Ungarn historisierender Aufführungspraktiken: Together with the Galpin Society a sym- Tonträgerproduktionen im Vergleich posium about the history of valved brass David Rowland, Milton Keynes (Großbri- instruments is planned on 26th April 2014. tannien) More information will follow soon. The development of piano technique in England c. 1790–1810

18 CIMCIM Bulletin · October 2013 New Book Releases

19.30 CONCERT Organization THE CLARINET IN THE 18TH CENTURY Saturday | 9. November 2013 | 19.30 Conference fee 25,00 €, daily cards 10,00 € Refektorium Tickets for the concert: 19,50 €/reduced It is with great pleasure that we announ- Poetische Ideen: 17,00 € (category A) and 17,50 €/reduced ce the publication of the book Die Kla- Hammerflügel mit Orchester 15,00 € (category B) rinette im 18. Jahrhundert. Tendenzen und Ludwig van Beethoven, Ouvertüre „Die Ge- Entwicklungen am Beispiel der Sir Nicho- schöpfe des Prometheus“ C-Dur op. 43 Travel to Kloster Michaelstein las Shackleton Collection written by Hei- Ludwig van Beethoven, Konzert Nr. 5 Es- From the train station Blankenburg you ke Fricke. The publication is a thorough Dur op. 73 für Pianoforte und Orchester can take the bus number 253 or 21 to study of the history of the clarinet, rich in Robert Schumann, Konzert a-Moll op. 54 Wernigerode. From the train station Wer- content and detail. It deals with the ear- für Pianoforte und Orchester nigerode you can take also the bus ly history of the clarinet to its heyday in number 253 or 21 to Thale or Quedlinburg. the Viennese classics. Fricke focuses on Arthur Schoonderwoerd – Hammerflügel You have to alight at the bus stop the interactions between composition, tu- Ensemble Cristofori „Waldmühle”. torial material, performance of music and instrument making. In addition, she illu- Accomodation minates how regional concepts of sounds Sunday November 10, 2013 The accommodation for the conference is were reflected in clarinet making. 9.00 – 13.00 Lectures to be organised by the participants. Hotel and bed-and-breakfast accommo- Hardcover, 288 pages, 70 illustrations, 40 Hartmut Krones, Wien (Austria) dation can be booked through the in full color. Language: German Aufführungspraktische Erkenntnisse aus Blankenburg Tourist Information Centre, 18 x 24,5 cm, Euro 49,90. Klavierbearbeitungen des frühen 19. Jahr- Tel.: +49 (0)3944-2898, Fax: +49 ISBN 9787-3-9815965-0-2 hunderts (0)3944-63102, Finkenkruger Musikverlag email: [email protected] www.rohrblatt.com Arthur Schoonderwoerd, Montfaucon (France) Questions to the symposium can be sent Die „Anweisung zum Piano-Forte-Spiel“ to the following address: von J. N. Hummel – ihre klavieristischen Stiftung Kloster Michaelstein Traditionen und Folgen Monika Lustig PF 24, D–38881 Blankenburg Harald Ossberger, Wien (Austria) tel.: +49-(0)3944-903012 Rückblick und Ausblick. C. Czernys Aus- fax: +49-(0)3944-903030 führungen über den Vortrag im Licht von e-mail: [email protected] Beethovens Umsetzungen seiner eigenen internet: www.kloster-michaelstein.de Klavierwerke

Klaus-Peter Koch, Bergisch Gladbach (Germany) „… strahlte doch das Dreigestirn: Liszt, Chopin und Henselt.“ Bemerkungen zum Interpreten und Klavierpädagogen Adolph von Henselt (1814–1889) in Russland ca. 13.00 Concluding words – Changes possible –

CIMCIM Bulletin · October 2013 19