CIMCIM Bulletin April 2020 CONTENTS Gabriele Rossi Rognoni: Chair’s report 2016–2019. 3 Frank P. Bär: New Chair’s message. 5 ARTICLES Laurence Libin: Preparing for Catastrophe . 7 Ana Sofia Silva: Barcoding the NMM Collections: Setting Up the Basics to Implement Barcoding for Object Tracking . 9 Sarah Deters: Music Socials: Creating Meaningful Experiences for People with Dementia . 19 Heidi Westerlund and Christina Linsenmeyer: 21st-century curators as transformative professionals: Music museums, public pedagogy and social responsibility . 23 NEW DISPLAYS AND TEMPORARY EXHIBITIONS Caroline Haas: Stars and Milestones in Electronic Music New on Display at the Permanent Exhibition . 26 Giovanni Paolo di Stefano: Music Parade: A New Display at the Rijksmuseum . 30 Olaf Kirsch: Manufacturing Sound: 2000 Years of Organ Building and Organ Playing . 34 Susan E. Thompson: Resounding Brass: Conch Shells to Silver Trumpets . 38 REPORTS Travel Grant Reports . 40 PARTICULARS CIMCIM Business Meeting Minutes . 52 NEW BOOKS . 60 NOTICES . 61 Cover Photo: Visitors in the Kunstgewerbliches Museum Hamburg experiencing the organ model in the exhibition “Manufacturing Sound”. DEADLINE FOR THE NEXT BULLETIN: 15/07/2020 Editor: Heike Fricke [email protected] Editorial Board: Christina Linsenmeyer and Arnold Myers 3 Gabriele Rossi Rognoni CHAIR’S REPORT 2016–2019, Kyoto 3rd September 2019 Dear Friends and Colleagues, When installed in 2016 the Board agreed on a The 2019 conference concludes the work of the forward plan for the current term and it is against current Board, which was elected in Milan in July these original aspirations that I’d like to measure the 2016. During these years the Board has been able to success of what has been achieved, and to highlight count on the support and continuous commitment what will eventually remain for the next Board to of ten members from nine different countries in address. three continents, and on the expert advice of three Our primary objective was identified in an effort co-opted members who helped reconsider its pro- to revise the way CIMCIM operates, in order to file, develop its international connections and main- address the major changes that have happened in tain and enhance effective communication with the the world of music museums (and museums in gen- membership. eral) in recent years: the appearance on the scene of CIMCIM is today an international associa- new countries and entire continents, of new profes- tion which includes more than 250 members from sional profiles, a change in the way we display music 55 countries distributed across all continents, and and musical instruments and the advent of new its greatest challenge is to express at least part of ways of communicating. the potential offered by such a reach while count- Members’ priorities and requests were assessed ing almost exclusively on the voluntary efforts of its through an initial public consultation phase con- Board members. Membership has expanded sub- sisting in a survey which gathered suggestions from stantially over the past triennium, from 173 indi- ca. 70 colleagues. The results identified priority viduals and institutions (2016) to the current num- areas for action (particularly networking opportu- ber, which represents an increase of almost 50%. The nities, workshops, collaboration with other ICOM geographic reach has also expanded with the inclu- committees, and the production of guidelines) and sion of 11 new countries since 2016. While the larg- barriers that prevented members from taking full est part of our membership is still in France, Ger- advantage of the opportunities offered (most nota- many, USA, UK, Belgium, Italy and Japan, I am bly, the cost of attending events). It also resulted in delighted that new members have joined from coun- a list of suggested topics that has since been used to tries such as Ukraine, Belarus, India, Nepal, Indo- inform the theme of our annual conferences and to nesia, Korea, Taiwan, Jordan, Tunisia, Sudan, and guide our communication strategy (web- and Face- Namibia. Special thanks are due to our Treasurer, book pages). Patrice Verrier, who has managed our member-list The results of the survey informed most of the for twelve years, over several terms. International following actions, including a revision of CIMCIM’s cooperation was also further strengthen through mission statement, led by Frank Bär, and the revi- the signing of two cooperation agreements respec- sion of the web-page thanks to the collaboration of tively with partner associations in Russia (AMMC) Emanuele Marconi. The page was re-designed and and China (CCMI), each representing over 50 fur- populated with new content, including the archive ther museums and providing invaluable support in of all CIMCIM Bulletins since 1989, full-text of sev- bridging linguistic and cultural barriers that had eral publications and overview of the locations of hindered the dissemination of CIMCIM activities in the sixty conferences organised by CIMCIM since the past. 1960. 4 Gabriele Rossi Rognoni Annual conferences are clearly the activity that Furthermore, two special projects were devel- reaches the largest percentage of our members, oped and obtained financial support from ICOM. usually attracting between 40 and 80 people and The first is an international conference on Playing extending between three and six days. Of the three and Operating: Functionality in museum objects that were organised during this term, one was in and instruments (Paris, Philarmonie de Paris, 4-6 Europe (Switzerland: Basel and Bern) and two in February 2020), coordinated by Frank Bäer and Asia (China: Wuhan and Shanghai; Japan: Kyoto, organised in collaboration with CIMUSET and Cité Osaka and Hamamatsu). CIMCIM’s gratitude goes de la Musique – Philarmonie de Paris to discuss to the colleagues who acted as local organisers from common challenges and opportunities of interpret- the Bern University of the Arts, the Museum für ing and preserving functional objects in museums. Musik in Basel, the Schola Cantorum Basiliensis, the The second is the publication of an edited volume Klingende Sammlung in Bern, the Hubei Provin- on Displaying Music in the 21st Century, edited by cial Museum in Wuhan, the Shanghai Conservatory Eric de Visscher and myself, for which over 100 pro- of Music and the Hamamatsu Musical Instrument posals from 30 countries were received. The publica- Museum. Each conference attracted members from tion is planned for 2021. ca. 20 different countries, and offered between 35 Regular and consistent communication has and 40 papers focussing on the Presentation, Pres- proven challenging throughout the triennium and ervation and Interpretation of Musical Instruments has been addressed on several occasions. Heike (2017), the interpretation of musical traditions Fricke, editor of the Bulletin since 2011, developed (2017) and education (2019). Conferences for the a new structure and graphic layout which was rolled next three years have already been planned in Lon- out since autumn 2017. It increased the number of don (2020), Amsterdam (2021) and Prague (2022). pages from circa 15 (2016/1) to between 36 and 56 Moreover, the members’ request to increase connec- with a substantial increase in the number and extent tions with other ICOM Committees was addressed of contributions. Regularity in the publication of through the organisation of two joint initiatives with two issues every year is still hard to achieve and will CIDOC (ICOM International Committee for Doc- eventually require even stronger support from CIM- umentation) and ICME (International Committee CIM members. for Museum of Ethnology) both during the General The CIMCIM Facebook page – currently the Conference in 2019, while an international confer- only social media that we use directly – has cele- ence is being organised with CIMUSET (Interna- brated its tenth year since it was originally set up tional Committee of Science and Technology Muse- as a closed group by Kathrin Melanie Menzel. After ums) for which see below. thorough discussion, and given the success of the In order to better support the local organisers, page, the Board and Assembly agreed to try and provide more consistency and long-term planning transform it into a public Facebook page. How- and facilitate transparency, a new protocol was devel- ever, the transformation has had a strongly negative oped to guide the delivery of annual conferences impact on the number of posts and of contributors. from beginning to end, and it was successfully tested This will be discussed at the Board and Business with the collaboration of Chinese colleagues in 2017. meetings in Kyoto and the decision on how to pro- The cost of attending conferences was also addressed ceed will be left to the next Board. as a priority and the global annual allocation for Conversely, I am glad to report that the CIM- travel grants was gradually increased from Eur 2,000 CIM mailing list – [email protected] – has to Eur 10,000, often further increased by the gener- grown to over 350 members under the unwavering ous support from the local organisers. This is now by moderation of Arnold Myers, who managed it for 24 far the largest expense in CIMCIM’s annual budget. consecutive years. A new grading system was developed under the Among the few projects that was not possible leadership of Frank Bär to guarantee that all grant to deliver, due to the lack of further time from the applications are transparently and equally assessed members of the Board, was the revivification of the against published criteria in line with ICOM guide- International Directory of Museums and Collections lines. of Music, which CIMCIM developed many years Chair’s message 5 ago, but that requires a major digital renovation and new webmaster and to Anna Wang, our new liaison content update to be compatible with the require- officer with CCMI (Chinese Association of Music ments of current on- line databases. Sufficient finan- Museums). Everyone’s constant commitment and cial resources have been set aside if the next Board contribution over these years have made this experi- intends to deliver this project.