Relevant bibliographies by topics / Musical instruments collections

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Musical instruments collections'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Musical instruments collections"

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Myers, Arnold. "The Glen and Ross Collections of Musical Instruments." Galpin Society Journal 38 (April 1985): 4. http://dx.doi.org/10.2307/841275.

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Johnson, Henry. "Japanese collections of traditional Japanese musical instruments: Presentation and representation." Musicology Australia 22, no. 1 (January 1999): 46–62. http://dx.doi.org/10.1080/08145857.1999.10416563.

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McDowell, Peggy. "Roots of American Jazz: African Musical Instruments from New Orleans Collections." African Arts 29, no. 4 (1996): 75. http://dx.doi.org/10.2307/3337401.

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Quiles, A., S. Emerit, V. Asensi-Amorós, L. Beck, I. Caffy, E. Delqué-Količ, and H. Guichard. "NEW CHRONOMETRIC INSIGHTS INTO ANCIENT EGYPTIAN MUSICAL INSTRUMENTS HELD AT THE MUSÉE DU LOUVRE AND THE MUSÉE DES BEAUX-ARTS DE LYON." Radiocarbon 63, no. 2 (February 15, 2021): 545–74. http://dx.doi.org/10.1017/rdc.2020.135.

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ABSTRACTVery little is known about the manufacturing and use of ancient Egyptian instruments, and their discovery is very rare. An extensive radiocarbon (14C) dating program has been conducted on 25 ancient Egyptian musical instruments currently held at the Louvre Museum (musée du Louvre) and the Lyon Museum of Fine Arts (musée des Beaux-Arts de Lyon). This study includes cordophones (harps, lyres, lutes), membranophones (drums, tambourines), idiophones (clappers, crotales), as well as wind instruments (oboe) that have entered the museum collections during the 19th century or the first half of the 20th century; consequently, the original archaeological contexts of their discoveries are poorly understood. Approximately 50 14C dates enable drawing a general overview of the instruments manufacturing. A wide variety of wood material has been identified, representing both indigenous species and imported species. Results indicate that the native flora of Egypt was exclusively used until the Third Intermediate Period when the first imports could be identified. 14C results are not always consistent with relative dates previously thought, mainly based on stylistic criteria. They demonstrate these collections hold very well-preserved objects extending over 2500 years, from the Second Intermediate Period (ca. 1700 BCE) to the start of the Islamic Period (8th century CE). This project provides important results for the knowledge of ancient Egyptian musical instrument crafts.
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Răsvan, Cătălin. "Sound Banks – a Priceless Aid in Contemporary Music Writing." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 220–30. http://dx.doi.org/10.2478/ajm-2019-0012.

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Abstract Sound banks are collections of sound samples from musical instruments of the symphonic orchestra, traditional instruments from various areas of the world and sounds of virtual devices, such as synthesizers, which are increasingly present in contemporary musical creations. Sound banks are loaded in a device called sampler, which can edit and play them. The article describes analog and especially virtual samplers, complex devices that can store or play sounds from specific libraries of sound banks. It also defines and catalogs the main types of digital virtual instruments (that include traditional symphonic orchestra instruments, ones with modern electronic instruments/percussion instruments, and ethnic collections for various geographic areas. Our research on digital applications used in music writing relies on 20 years of experience. Currently, applications are valuable tools for composers and musicians, and for everyone in the contemporary music industry. In 2006, I created the first collection of sound banks made in Romania “The Essence of Panflute”, library containing sound samples 583, grouped in 33 virtual instruments. This is the most complex virtual version of the Romanian pan flute, played by the renowned Cătălin Tîrcolea. The library is designed and edited by Cătălin Răsvan, for the company S.C. Canira Music Internațional. This collection of sound banks presents in minute detail the laborious process of recording and editing this virtual library. “The Essence of Panflute” has seen international acclaim, is distributed by the German company Best Service, one of the major companies in the world, was reviewed in the most prestigious magazine in this field, Sound on Sound, and has opened the door for current/future creators of music. We hope that it is only the beginning for our work in the research and development of digital virtual sound, which is a special category for the instruments in our country.
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Martin, Cheryl. "The Music Collection of Thomas Baker of Farnham, Surrey." Royal Musical Association Research Chronicle 44 (2013): 19–54. http://dx.doi.org/10.1080/14723808.2012.730316.

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Thomas Baker's music collection is part of the special collections of the Music Library at Western University, Ontario. Thomas Baker (1719/20–94) lived mainly in Farnham, southwest of London, England, in the County of Surrey. His music collection remained largely intact, which is unusual for the library of an eighteenth-century man who lived in a small town in rural England. The collection at Western consists of 90 separate pieces of music, collections of music, and books of music theory, plus six manuscripts; an inventory of the collection illustrates the variety of musical forms that he collected. His purchase of an organ leads us to conclude that he played the organ and possibly other keyboard instruments; about 25% of his collection is for keyboard. However, he was also interested in a variety of other musical forms, either as a performer or as a collector. From the surviving information, we can create a basic portrait of Baker and his music collection, even if we can draw no definite conclusions about how it was used or if he was merely a collector, or also a performer or an organizer of concerts.
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Siti Mudawamah, Nita. "PENGELOLAAN KOLEKSI DI MUSEUM MUSIK INDONESIA SEBAGAI UPAYA PELESTARIAN WARISAN BUDAYA." Fihris: Jurnal Ilmu Perpustakaan dan Informasi 16, no. 1 (June 30, 2021): 1. http://dx.doi.org/10.14421/fhrs.2021.162.1-20.

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The Museum Music Indonesia is the only museum that houses a collection of music by Indonesian musicians. Located in Malang City, this museum has approximately 35.000 music collections of various types including cassettes, vinyl, compact disks, posters, magazines, musical instruments, audio equipment, and even artist/musician clothes. This paper aims to describe how the collection management at the Museum Music Indonesia uses a qualitative descriptive approach. The results found in the field include; Most of the collections contained in this music museum are obtained from grants from the music lovers community, collection management begins with the collection, data collection, presentation, and information to the public, the management is still done manually due to limited resources. With the cooperation and attention of all stakeholders, MMI can continue to live and develop as a preserver of the nation's treasures that are attractive to the community.
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Monson, Craig. "Elena Malvezzi's keyboard manuscript: a new sixteenth-century source." Early Music History 9 (October 1990): 73–128. http://dx.doi.org/10.1017/s0261127900001005.

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It is safe to say that the collections of the Museo Comunale Bardini, situated in Piazza dei Mozzi on the oltrarno in Florence, remain comparatively little known. The museum's vast store of paintings, sculpture, architectural ornament, rugs and tapestries, armour, bronzes, furniture and musical instruments all belonged to Stefano Bardini, the nineteenth- and early twentieth-century collector and art dealer. Born in 1836 in the province of Arezzo, Bardini came to Florence to study painting at the Accademia delle Belle Arti. After the political turbulence of the 1860s, when Bardini fought with the Garibaldini, the young painter turned to restoration, connoisseurship and art dealing. By the age of forty-five he had established his reputation and an extraordinary personal collection. At the height of his career his patrons included the Rothschilds, the Vanderbilts, Isabella Gardiner and J. Pierpont Morgan. Many objects now in some of the world's best-known public collections passed through his hands.
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Eyharabide, Victoria, Imad Eddine Ibrahim Bekkouch, and Nicolae Dragoș Constantin. "Knowledge Graph Embedding-Based Domain Adaptation for Musical Instrument Recognition." Computers 10, no. 8 (August 3, 2021): 94. http://dx.doi.org/10.3390/computers10080094.

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Convolutional neural networks raised the bar for machine learning and artificial intelligence applications, mainly due to the abundance of data and computations. However, there is not always enough data for training, especially when it comes to historical collections of cultural heritage where the original artworks have been destroyed or damaged over time. Transfer Learning and domain adaptation techniques are possible solutions to tackle the issue of data scarcity. This article presents a new method for domain adaptation based on Knowledge graph embeddings. Knowledge Graph embedding forms a projection of a knowledge graph into a lower-dimensional where entities and relations are represented into continuous vector spaces. Our method incorporates these semantic vector spaces as a key ingredient to guide the domain adaptation process. We combined knowledge graph embeddings with visual embeddings from the images and trained a neural network with the combined embeddings as anchors using an extension of Fisher’s linear discriminant. We evaluated our approach on two cultural heritage datasets of images containing medieval and renaissance musical instruments. The experimental results showed a significant increase in the baselines and state-of-the-art performance compared with other domain adaptation methods.
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Banar, Nikolay, Matthia Sabatelli, Pierre Geurts, Walter Daelemans, and Mike Kestemont. "Transfer Learning with Style Transfer between the Photorealistic and Artistic Domain." Electronic Imaging 2021, no. 14 (January 18, 2021): 41–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.14.cvaa-041.

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Transfer Learning is an important strategy in Computer Vision to tackle problems in the face of limited training data. However, this strategy still heavily depends on the amount of availabl data, which is a challenge for small heritage institutions. This paper investigates various ways of enrichingsmaller digital heritage collections to boost the performance of deep learningmodels, using the identification of musical instruments as a case study. We apply traditional data augmentation techniques as well as the use of an external, photorealistic collection, distorted by Style Transfer. Style Transfer techniques are capable of artistically stylizing images, reusing the style from any other given image. Hence, collections can be easily augmented with artificially generated images. We introduce the distinction between inner and outer style transfer and show that artificially augmented images in both scenarios consistently improve classification results, on top of traditional data augmentation techniques. However, and counter-intuitively, such artificially generated artistic depictions of works are surprisingly hard to classify. In addition, we discuss an example of negative transfer within the non-photorealistic domain.
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Dissertations / Theses on the topic "Musical instruments collections"

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St, Germain Gary. "MusLib: A proposed database for the management of a music library." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/566.

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Mui, Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu. "Crossing the musical divides a collection of my musical creations /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3157788X.

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Mui, Kwong-chiu, and 梅廣釗. "Crossing the musical divides: a collection ofmy musical creations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B3157788X.

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Adams, Christine. "Can One Hear...? An Exploration Into Inverse Eigenvalue Problems Related to Musical Instruments." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5598.

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The central theme of this thesis deals with problems related to the question, "Can one hear the shape of a drum?" first posed formally by Mark Kac in 1966. More precisely, can one determine the shape of a membrane with fixed boundary from the spectrum of the associated differential operator? For this paper, Kac received both the Lester Ford Award and the Chauvant Prize of the Mathematical Association of America. This problem has received a great deal of attention in the past forty years and has led to similar questions in completely different contexts such as "Can one hear the shape of a graph associated with the Schrodinger operator?", "Can you hear the shape of your throat?", "Can you feel the shape of a manifold with Brownian motion?", "Can one hear the crack in a beam?", "Can one hear into the sun?", etc. Each of these topics deals with inverse eigenvalue problems or related inverse problems. For inverse problems in general, the problem may or may not have a solution, the solution may not be unique, and the solution does not necessarily depend continuously on perturbation of the data. For example, in the case of the drum, it has been shown that the answer to Kac's question in general is "no." However, if we restrict the class of drums, then the answer can be yes. This is typical of inverse problems when a priori information and restriction of the class of admissible solutions and/or data are used to make the problem well-posed. This thesis provides an analysis of shapes for which the answer to Kac's question is positive and a variety of interesting questions on this problem and its variants, including cases that remain open. This thesis also provides a synopsis and perspectives of other types of "can one hear" problems mentioned above. Another part of this thesis deals with aspects of direct problems related to musical instruments.
M.S.
Masters
Mathematics
Sciences
Mathematical Science; Industrial Mathematics
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Sosa, Ortega Jorge Raymundo Rudy Paul. "Refractions a collection of three pieces for solo instruments and fixed electronic media /." Diss., UMK access, 2008.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.
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Harris, Kristine Lynn. "A collection of cadenzas for the trumpet concertos of Franz Joseph Haydn and Johann Nepomuk Hummel." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137621.

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The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences.
School of Music
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Williamson, Hugh. "PENNSYLVANIA HIGH SCHOOL INSTRUMENTAL MUSIC TEACHERS' PERCEPTIONS OF CHANGES IN INSTRUCTIONAL TIME AND RESOURCES." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/249629.

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Music Education
Ph.D.
The purpose of this study was to determine Pennsylvania public high school instrumental music teachers' perceptions of changes to instrumental music instruction that may have been the result of a narrowing focus on student performance on standardized tests and sanctions linked to the No Child Left Behind Act of 2001 (2002). The study used a descriptive design to investigate ways that standardized testing may have influenced student opportunities to participate in school instrumental music, instructional time available for instrumental lessons and performing ensembles, budgetary resources and funding sources, staffing, and instrumental music curricula in Pennsylvania high schools. Data were gathered via an anonymous web-based survey. Of the entire population of 710 full-time high school instrumental music teachers in Pennsylvania, 304 responded. Of those, 247 successfully completed the survey and were appropriate for analysis. Results suggested that across PA high schools, instrumental music opportunities were varied and inconsistent with regard to instructional time, financial resources, access and availability of students, and support for instrumental music within the larger curriculum of the schools. These inconsistencies may have resulted in unequal opportunities to participate in instrumental music programs, partially because of funding and policy priorities at the state and local level that value test-based accountability rather than more comprehensive methods of evaluating child development and learning. Prior research suggested that opportunities to participate in instrumental music were linked to individual and group standardized test performance. Schools in very large urban districts with high percentages of low-income and minority students were the most likely to face reductions in instrumental music opportunities. Implications included the possibility of inequitable reductions to music programs potentially undermining efforts to help reduce or prevent achievement gaps. Reductions in instrumental music opportunities for elementary level students was a particular concern since neurobiological research findings suggest special benefits for early childhood music instruction. Recommendations for further research included replication of the study using identifiable data, case studies of individual high schools, the continuation and expansion of longitudinal studies between neuroscientists and music educators, and a survey of school administrator attitudes toward music education.
Temple University--Theses
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Jordan, Meggan. "10X THE TALENT = 1/3 OF THE CREDIT: HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2289.

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This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. Three forms of subtle discrimination are inferred from their narrative histories. First, female musicians are mistaken for non-musicians. They are encapsulated into inferior roles, like "the gimmick," "good for a girl," and "invisible accessory." Second, band mates and band managers control women's space, success, and artistic freedom. Third, their femininity, sexuality, and age are highly scrutinized. The analysis implies that female musicians are tokenized, devalued, and considered inappropriate for their jobs. Particular attention is paid to the similarities between female musicians and women in male dominated work places. I conclude by discussing the larger implications for gender, music, and social change in a sexist, unregulated industry.
M.A.
Department of Sociology
Sciences
Applied Sociology
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Selfridge, Stephen Mark. "THE EFFECT OF VIDEO INSTRUCTION ON THE PERFORMANCE ACHIEVEMENT OF FIFTH GRADE INSTRUMENTAL STUDENTS." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/499562.

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Music Education
Ph.D.
The purpose of this study was to examine the effect of instructional videos on the performance achievement of fifth grade instrumental students. The design of the study was pretest-posttest control group experimental. Participants (n = 84) were volunteers selected from fifth grade students enrolled in Garnet Valley School District in Glen Mills, PA, who had participated in the band program for at least one full year. Students were assigned a short etude composed by the researcher to practice for an evaluation. Prior to treatment, each student was recorded performing the etude as a pretest. All students received identical instruction and modeling of the etude during their weekly school lesson. In addition to the weekly school lesson instruction, a Video Practice Group (VP) (n = 42) was given access to a video of the teacher instruction and modeling of the etude for use during home practice, and the Non-Video Practice Control Group (NVP) (n = 42) practiced the etude under usual practice conditions. Each week, participants submitted a practice record detailing the amount of time spent practicing the etude. Following three weeks of treatment, all participants recorded a performance of the etude. Pretest and posttest recordings were scored by the researcher using the researcher-designed Etude Scoring Form. One additional certified music teacher scored a random selection of 15% of the student recordings as a reliability judge. Comparison of pretest and posttest scores showed that overall gain scores for participants in the Video Practice group were significantly greater than the Non-Video Practice Group (F(1,82) = 20.68, p < .001, ηp2 = .201), with significant interactions in the categories of rhythm (F(1, 82) = 9.45, p = .003), fluency, F(1, 82) = 9.97, p = .002), and articulation, F(1, 82) = 8.07, p = .006). No significant interactions were found for instrument type or participant school. There was no significant difference in reported practice time between the two groups, and practice time was positively correlated with posttest scores.
Temple University--Theses
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Cullen, Danielle M. "EXPLORING ELEMENTARY GENERAL MUSIC TEACHERS’ REFLECTIVE STRATEGIES WITHIN A TEACHER COLLABORATION GROUP: AN INSTRUMENTAL CASE STUDY." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/522804.

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Music Education
Ph.D.
The purpose of this instrumental case study was to describe the ways two elementary general music teachers participating in a teacher collaboration group (TCG) used reflective strategies in their classrooms. The following questions initially framed the case: When these two teachers engaged in reflective strategies, (1) What did they notice about their students’ performance and their own teaching practices? (2) What did they describe as the benefits and challenges of incorporating reflective strategies? and (3) What insights did they articulate as a result of their participation in a TCG? I (student investigator) invited two purposefully sampled elementary general music teachers to participate in a TCG focused on incorporating reflective strategies. In my interactions with the two teachers, I served three roles: researcher, facilitator, and colleague. The theoretical lens for this research was professional learning through collaboration. As researcher, I embraced the required tasks for this research, including studying existing literature, obtaining the necessary approvals, devising data collection tools, analyzing the data and drawing conclusions based on the data. Since I chose to conduct the research in the school district where I currently teach, I needed to be mindful of my professional relationships with all 10 of my elementary general music teacher colleagues, since the two of my elementary general music teacher colleagues participated in the TCG. Throughout the study I strove to maintain balance between my roles of researcher, facilitator and colleague as I drew on my review of research and practice literature on reflective strategies to make decisions throughout this research. To reduce over rapport during the study, I continually examined my motives for all choices, and sought to be mindful of how each choice affected research design, TCG agendas, and my colleagues’ professional responsibilities. I strove to identify sources of tensions relative to each of my roles, and remain as neutral as possible to each role during data analysis. The two teachers engaged in member checks, and I invited a critical friend with experience in qualitative research to serve as an auditor of the data. Based on my research on reflective strategies, I offered participants four reflective strategies, from which they chose one, to incorporate with a fourth grade general music class of their choice. Over seven months, the participants documented in their professional reflective journals what they noticed about their students and themselves while engaged in reflective strategies. The participants studied reflective practice independently and collaboratively. The participants completed two solo interviews and attended five group meetings. Data sources for this study were transcripts of TCG meetings and interviews, researcher’s field notes, participants’ professional reflective journals, and artifacts of student work shared with parent consent and student assent: video recorded teaching examples and students’ written classwork, both of which participants shared during TCG meetings. I studied the transcripts and professional reflective journals for emerging patterns and themes. Three themes emerged: Noticings About Students and Self, Learning About Students and Self, and Changing Attitudes and Beliefs about Teaching and Learning. The overarching theme, Sharing Experiences, served as the catalyst for participant noticing, learning, and changing. The participants reported that the use of reflective strategies designed for their elementary general music students informed their instruction and decision-making processes, and provided insights to their students’ levels of understanding. Additionally, the participants reported learning the value of reflection, both for themselves and for their students. The participants also reported that participating in the TCG as a form of collaborative professional development alleviated feelings of isolation and provided an opportunity for teachers to learn from one another in a professional environment. The research presented in this study has implications for teachers and administrators. Because of the benefits associated with engaging students in reflective strategies, teachers should consider how to include reflective opportunities appropriately as part of their instruction. Further, administrators should consider providing collaborative professional development opportunities for teachers of any subject area or grade level. The two elementary general music teachers in this research described gaining valuable insights regarding music teaching and learning by incorporating reflective strategies. Further, they valued the professional development in the form of the TCG, which developed over time and offered them an opportunity to reflect as partners who generated collective knowledge with each other as supportive peers, all while individually growing as teachers. Suggestions for future research include researching a curricular approach to implementing reflective strategies with PreKindergarten through 5th grade elementary general music students, reflective strategies elementary musical ensembles, investigating how reflective strategies relate to different approaches for teaching elementary general music, and exploring teacher collaboration groups consisting of music teachers from various grade levels or music teaching disciplines.
Temple University--Theses
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Books on the topic "Musical instruments collections"

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Musée royal de l'Afrique centrale. Musical instruments. Tervuren, Belgium: Royal Museum for Central Africa, 2009.

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Victoria and Albert museum. Catalogue of musical instruments. 2nd ed. London: H.M. Stationery Off., 1985.

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Daigaku, Kunitachi Ongaku. The Collection of musical instruments. Edited by Gunji Sumi 1930- and Kunitachi Ongaku Daigaku. Gakkigaku Shiryōkan. Tachikawa-shi, Tokyo, Japan: Kunitachi College of Music, Gakkigaku Shiryōkan, 1996.

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The Eddy Collection of Musical Instruments: A checklist. Berkeley, Calif: Fallen Leaf Press, 1985.

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Haine, Malou. Les instruments de musique dans les collections belges =: Musical instruments in Belgian collections. Liège: P. Mardaga, 1989.

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Ferdinando, Tagliavini Luigi, Bergamini Wanda, and Latcham Michael, eds. Collezione Tagliavini: Catalogo degli strumenti musicali. Bologna: Bononia University Press, 2008.

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Switzerland), Musée d'ethnographie (Neuchâtel. Collections d'instruments de musique Les Sanza. Neuchâtel: Le Musée, 1986.

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Whitely, Jon. Musical instruments in the Ashmolean Museum. Oxford: Ashmolean Museum, 2005.

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1953-, Borders James M., ed. European and American wind and percussion instruments: Catalogue of the Stearns Collection of Musical Instruments, University of Michigan. Ann Arbor: University of Michigan Press, 1988.

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Montagu, Jeremy. Reed Instruments: The Montagu collection : an annotated catalogue. Lanham, Md: Scarecrow Press, 2001.

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Book chapters on the topic "Musical instruments collections"

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Schmidhofer, August. "The Collection of Musical Instruments." In Academic Showcases, 131–34. Wien: Böhlau Verlag, 2015. http://dx.doi.org/10.7767/9783205201519-038.

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Baker, Nina. "James Watt as Musical Organ Maker." In James Watt (1736-1819), 209–29. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620818.003.0010.

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This chapter examines Watt’s work in Glasgow between 1756-1744 when he struggled to make a living from mathematical instruments and also resorted to making and selling musical instruments. He made stringed instruments, including viole da gamba and guitars, plus flutes and organs. There are no complete stringed or wind instruments extant, although tools and parts are held in the London Science Museum. Watt also collaborated with Charles Clagget, an accomplished viol de gamba player and innovator in musical instrument technology, including the first trumpet valves. Watt’s accounts books make clear that he made or repaired barrel, chamber and finger organs and the chapter examines the evidence for these organs including the James Watt Organ in the Glasgow Museums’ Service collection. Its potential links to the great man are considered, to try to uncover the boundaries between myth and reality in regards to the provenance of this instrument.
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"Musical Instrument Collections and Library Sigla." In The Flageolet in England, 1660-1914, xix—xx. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctvxhrkk5.6.

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Shapreau, Carla. "The Nazi Confiscation of Wanda Landowska’s Musical Collection and Its Aftermath." In Polin: Studies in Polish Jewry Volume 32, 429–49. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0024.

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This chapter discusses the Nazis' confiscation of Wanda Landowska's musical collection and how it was partly recovered after the war. It recounts Landowska's career before the Germans invaded France in May 1940 and describes her as an internationally renowned harpsichord and piano soloist and an accomplished scholar, writer, teacher, and composer. It also highlights Landowska's extensive music library, which included manuscripts, rare printed music, books, and an impressive antique musical instrument collection. The chapter recounts how the Nazis plundered Landowski's musical treasures in September 1940 after Landowska fled her home and music school at 88 rue de Pontoise, Saint-Leu-la-Forêt. It describes Landowska's library that contained approximately 10,000 objects, which reflected Landowska's intellectual and aesthetic sensibilities, her eclectic interests, and to some extent her heritage.
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Politis, Dionysios. "Reconstructing Digitally Instruments and Scales in the Synchrony and Diachrony of Music." In Advances in Library and Information Science, 103–18. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1653-8.ch006.

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The capabilities of modern computers to visualize in a realistic and constructive manner how ancient musical instruments performed gives contemporary musicologists an unprecedented insight on how music evolved through the centuries. Collecting evidence from museological exhibits, reconstructed physical instruments from antiquity have been performing around the globe. Based on these, Computer Music scientists create virtual environments that allow experts to experiment and interface with cultural worlds that flawlessly revive the timeline of music through the centuries. Even further, computer systems can synthesize melodies based on the notation used in antiquity, providing scholars with a vivid reflection that echoes humanity's collective memory through the centuries.
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Bellaviti, Sean. "A Listener’s Guide to Música Típica." In Música Típica, 123–68. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936464.003.0005.

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Chapter 4 familiarizes the reader with the musical details of música típica. It begins by examining the evolution of ensemble instrumentation and instrument roles over the final quarter of the twentieth century, noting important changes that include more frequent appearance of women as the lead vocalists and other novel practices brought about through the pioneering efforts of cumbia innovadores (innovators). This is followed by a detailed outline of the standard musical features of the genre, including instrument roles and the collection of interlocking patterns that make up the composite grooves that both musicians and dancers report are at the heart of música típica’s aesthetic appeal. This chapter concludes with an exploration of this music’s capacity to call up nationalist feelings while remaining, in the view of its practitioners, decidedly, indeed adamantly, nonpolitical.
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Nielson, Lisa. "Samāᶜ Intertwined in Practice: Eight Treatises from the 9th to the 15th Centuries." In The Music Road, 126–47. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0007.

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In the 9th century, Ibn Abi al-Dūnya’s treatise the Dhamm al-Malahi (Censure of Instruments of Diversion) was among the first to argue that samāᶜ (listening), specifically the act of listening to music, was not allowable under religious law. The question of listening had already appeared in other treatises concerned with music but became subject to deeper scrutiny from the 9th century onward. Samāᶜ has been studied as it relates to music and Sufism, yet how different uses and definitions of samāᶜ intertwined in practice has not been thoroughly investigated. To consider these intersections, this essay uses a collection of treatises concerned with samāᶜ held at the National Library of Israel, ranging from the 9th to the mid-15th century. Although all are aligned against listening, these treatises paint a vivid picture of the musical landscape of the medieval Islamicate world, and how the blending of different musical expressions influenced music discourses.
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Herbst, Jan-Peter, and Jonas Menze. "Chapter 4: Collecting." In Gear Acquisition Syndrome: Consumption of Instruments and Technology in Popular Music. University of Huddersfield Press, 2021. http://dx.doi.org/10.5920/gearacquisition.04.

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"To Play or Not To Play: Making a Collection of Musical Instruments Accessible." In The Power of Touch, 201–14. Routledge, 2016. http://dx.doi.org/10.4324/9781315417455-21.

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White, Harry. "The Steward of Unmeaning Art." In The Musical Discourse of Servitude, 110–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190903879.003.0004.

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Two principal themes are engaged in this chapter: the recent history of Bach reception in which the composer’s autonomy is drastically reconfigured, and the nature of Bach’s pursuit of the musical subject as a primary signature of that autonomy nevertheless. The first of these themes, which takes its cue from Charles Burney’s reading of Bach in 1789, entails a reading of Susan McClary, Lydia Goehr, Richard Taruskin, and John Butt, in which Bach is (respectively) deconstructed in terms of contemporary political discourse, denied the autonomy of a work-based practice, construed as a dogmatic agent of anti-Enlightenment beliefs and identified as the fountainhead of an ultimately inhumane musical and cultural absolutism, and reconstructed as a composer of works that passionately mediate between his world and ours. This reading establishes a context for the second theme, in which Bach’s emancipation of the musical subject from “the very church composer against whose office his music rebelled” (Adorno) is identified by means of his late instrumental collections.
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Conference papers on the topic "Musical instruments collections"

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Willeart, Saskia. "Digitizing collections of musical instruments in Africa." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.05.

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In 2013–2014 the Musical Instruments Museum (mim) in Brussels worked with Musée de la Musique (MMO) in Ouagadougou, Burkina Faso, and the Musée Panafricain de la Musique (MPM) in Brazzaville, the Republic of the Congo to build digital inventories of their musical instrument collections. The purpose of this digitization campaign has been to provide a more complete view of musical world heritage by incorporating not only African instruments but also the African terminology that describes these instruments, into international research databases. The cooperative digitization work has helped bring attention to valuable but not easily accessible collections. Both the musical patrimony held in African museums and the metadata they provide are proving to be valuable sources for understanding musical world heritage.
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Schaefer, Mathew. "Beautiful Music in the Classroom: Marimba As a Lab Experiment for Teaching Vibration Measurement." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-11038.

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Abstract A marimba bar makes a rich and vibrant sound when played by a skilled musician. When that same marimba bar is played by the typical mechanical engineering junior, it’s a different story. Then, that same marimba key provides a complex set of vibration modes that are a useful subject for a lab experiment in their Measurements & Instrumentation course. This paper will describe development of “The Marimba Experiment”, which is part of a junior-level engineering course in measurements at Milwaukee School of Engineering. Learning outcomes for this course include “provide students with hands-on experience: using various sensors, performing data collection, and interpretation of experimental results.” In this experiment, students measure vibrations using a piezoelectric accelerometer, charge amplifier and analog-to-digital conversion. Results can be viewed in two ways. First, it may be interpreted as a general example of a vibrating structural component. It has several natural frequencies and mode shapes (transverse bending, lateral bending, torsional), which are simultaneously active. The signal represents an example of a complex periodic signal. It may be analyzed by looking at the acceleration versus time response and by examining the Fourier transform of the data, which shows results in the frequency domain. Second, results may be interpreted in musical terms. The lowest frequency is what we recognize as “the note” and the higher modes represent the higher harmonics. The distribution of frequency ratios and the relative amplitudes of the higher frequencies are what gives a musical instrument its unique character. In other words, what makes middle-C on a marimba sound different than middle-C on a clarinet or violin? A well-designed engineering experiment can give students an immediate application example. In this case, it is an example which they spontaneously want to explore because they all enjoy music and want to understand how it is created.
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Xiao, R. "THE MUSEUM’S COLLECTION OF FOLK MUSICAL INSTRUMENTS OF CHINA PRESERVATION OF NATIONAL ARTISTIC HERITAGE." In IV International Conference ”Science and society - Methods and problems of practical application". Prague: Premier Publishing s.r.o., 2018. http://dx.doi.org/10.29013/iv-conf-canada-4-21-26.

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