The contributors to this volume examine musical instrument collectors and their reasons and means for collecting: Who were they professionally and personally? Why did they collect musical instruments? How did they acquire their objects? What were their collecting criteria and aesthetics?
Following a critical introduction, two chapters on historically overlooked yet essential themes - provenance and collecting in the context of colonialism - lay the foundation for nineteen chapters, each focusing on an individual collector, telling personal and individual stories of collecting and collections. These narratives illuminate a rich contextual history, including the factors that shaped each collector's acquisition and use of objects. Because many private collections later became the mainstay of institutional ones, this volume holds that it is essential to understand these collectors and historical collecting practices, in order to understand our museum collections today.
The book will be of interest to scholars working in material culture, collecting and museum studies, music history, and organology.
Reihe
Sprache
Verlagsort
Verlagsgruppe
Zielgruppe
Für höhere Schule und Studium
Postgraduate and Undergraduate
Illustrationen
50 s/w Abbildungen, 46 s/w Photographien bzw. Rasterbilder, 4 s/w Zeichnungen
4 Line drawings, black and white; 46 Halftones, black and white; 50 Illustrations, black and white
Maße
Höhe: 246 mm
Breite: 174 mm
ISBN-13
978-1-032-10509-3 (9781032105093)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Christina Linsenmeyer is Associate Curator, Collection of Musical Instruments at Yale University.
Herausgeber*in
Yale University, USA
Introduction 1. Collecting African Musical Instruments during the Colonization Era. The case of the Congo 2. Provenance and Instruments of the Violin Family 3.From 'Scoundrel' to Professor: The legacy of John Donaldson (c. 1788-1865) and the founding of the University of Edinburgh's musical instrument collection 4. Carl Engel (1818-1882): 'The highest authority in Europe upon the development of musical instruments' 5. 'The rare museum of an artist and inventor': Adolphe Sax's (1814-1894) collection of musical instruments 6. Alfred Hill (1862-1940) and Arthur Hill (1860-1939): Private collectors, public benefactors 7. Cesar Charles Snoeck (1834-1898): Making the intangible, tangible 8. Daniel Sargent Pillsbury (1836-1902): First collector of American band instruments 9. Collecting Musical Instruments - A Merchant's Passion. The Rueck family collection (c. 1880-1962) 10. Mary Elizabeth Adams Brown (1842-1918): A Herculean piece of work 11. Auguste Tolbecque's (1830-1919) Collection: A new aesthetic order and the experimental archeology of musical instruments 12. Celebrating the Art of Musical-Instrument Making. The private collection of Victor-Charles Mahillon (1841-1924) 13. Carl Claudius (1855-1931) and His Sound-chests 14. 'No Mere Assemblage of Musical Instruments': The foundations of Arnold Dolmetsch's (1858-1940) collection 15. Dayton C. Miller (1866-1941), an American Collector of Flutes 16. George Henry Benton Fletcher (1866-1944), The Improbable Collector 17. Francis W. Galpin (1858-1945): The Canon and collector 18. Henry Ford (1863-1947): Gathering America's musical past 19. Fritz Wildhagen (1878-1956) - Painter, Collector, Aesthete 20. Evan Gorga (1865-1957): An extraordinary collector, his incredible collections, and their disastrous odyssey 21. Curt Sachs (1881-1959) as Head of the Collection of Musical Instruments in Berlin: Views and perspectives Appendices
