Název: Muzealizace hudebních nástrojů a její teoretické reflexe od 19. století do současnosti
Variantní název:
- Musealization of musical instruments and its theoretical reflections from the 19th century to the present
Zdrojový dokument: Musicologica Brunensia. 2022, roč. 57, č. 2, s. 107-129
Rozsah
107-129
-
ISSN1212-0391 (print)2336-436X (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/MB2022-2-5
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/digilib.77677
Type: Článek
Jazyk
Licence: CC BY-SA 4.0 International
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
Two dominant lines can be recognized in the music-museological thought from the end of the 18th century to the present day. Each of these two lines relates to the musealization of one of the two fundamental types of "musical things", as well as to the respective types of music-museal institutions. The first line has reflected the musealization of musicalia as musical texts (i.e. textual records of music, texts about music, and texts otherwise connected with the existence of music). In this study, however, we deal with the second line of music-museological thought, the one that reflects musical instruments. The collecting and musealization of musical instruments are old and universal phenomena, which took on the specific form of musical instrument museums in the course of the 19th century. These institutions then became the centres of nascent organology. As an auxiliary science of organology, this intellectual line has been actively developing, and from a quantitative point of view, it represents the main area of music-museological thought.
eng
Reference
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[35] HAINE, Malou. Expositions d'instruments anciens dans la seconde moitié du XIXe siècle. Revue belge de Musicologie, 1988, roč. 42, s. 223–240.
[36] HELLWIG, Friedemann. Basic Concepts of Musical Instrument Presentations. CIMCIM Newsletter, 1986, s. 41–47.
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[38] HELLWIG, Friedemann – John KOSTER. Training in Musical Instrument Conservation. Edinburgh: International Committee of Musical Instrument Museums & Collections, 1994.
[39] HERLIN, Denis – Catherine MASSIP – Valérie de WISPLAERE (eds.). Collectionner la musique. Érudits collectionneurs. Turnhout: Brepols, 2015.
[40] JENKINS, Jean (ed.). Ethnic Musical Instruments: Identification – Conservation. London: Hugh Evelyn, 1970.
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[44] KELLER, Jindřich. Katalogizace hudebních nástrojů v nespecializovaných muzeích. Muzejní a vlastivědná práce, 1974, roč. 12, č. 4, s. 209–226.
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[48] KOTAŠOVÁ, Daniela – Tereza ŽŮRKOVÁ – Jan KŘÍŽENECKÝ. Hudební sbírka Ondřeje Horníka. II. Díl: Hudební nástroje. Praha: Národní muzeum, 2012.
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[51] MEYER, Andreas (ed.). Musikaustellungen: Intention, Realisierung, Interpretation. Hildesheim: Georg Olms, 2018.
[52] PONTÉCOULANT, Adolphe. Musée instrumental du Conservatoire de musique. Histoires et anecdotes. Paris: Michel Lévy Frères, 1864.
[53] POULOPOULOS, Panagiotis. New Voices in Old Bodies: A Study of "Recycled” Musical Instruments with a Focus on the Hahn Collection in the Deutsches Museum. Munich: Deutsches Museum Verlag, 2016.
[54] REBLITZ, Arthur A. Le piano: entretien, accord & restauration. Vic-la-Gardiole: L'Entretemps, 2005.
[55] ROSSI ROGNONI, Gabriele. La definizione dell'organologia come disciplina attraverso i primi cataloghi museali (1866–1911). In Annali: arte, musica e spettacolo IX. Firenze: Università degli Studi di Firenze – Titivillus, 2008, s. 155–171.
[56] ROSSI ROGNONI, Gabriele. Preserving Functionality: Keeping Artifacts "Alive” In Museums. Curator, 2019, roč. 62, č. 3, s. 403–414.
[57] ROTH, Dominik von – Linda ESCHERICH (eds.). Private Passion – Public Challenge: Musikinstrumente sammeln in Geschichteund Gegenwart. Heidelberg: arthistoricum.net, 2018.
[58] RÜHLMANN, Julius. Ueber Museen oder Sammlungen musikalischer Instrumente. Neue Zeitschrift für Musik, 1866, roč. 33, sv. 62, č. 34, s. 285–286; č. 35, s. 293–296; č. 36, s. 301–303.
[59] SACHS, Curt. La signification, la tâche et la technique muséographique des collections d'instruments de musique. Mouseion, 1934, roč. 27–28, s. 153–184.
[60] SEHNAL, Jiří – Jiří BELIS. Směrnice pro dokumentaci varhan v českých zemích. Brno: Česká hudební společnost, 1986.
[61] SEIPEL, Wilfried. Für Aug' und Ohr: Musik in Kunst- und Wunderkammern. Milan: Skira, 1999.
[62] SHERRINGTON, Unity – Guy OLDHAM (eds.). Music Librairies and Instruments. Hinrichsen's Eleventh Music Book. London: Hinrichsen, 1961.
[63] SCHMIDT, Susanne. "Der Ton macht die Musik": Musik oder Musikinstrumente in den Völkerkundemuseen? Versuch über das Musikalische im Museum. Bonn: Holos-Verlag, 1993.
[64] VANDERVELLEN Pascalle (ed.). The Golden Age of Flemish Harpsichord Making: A Study of the MIM's Ruckers Instruments. Brussel: Musical Instruments Museum, 2017.
[65] WATSON, John R. Historical Musical Instruments: A Claim to Use, An Obligation to Preserve. Journal of the American Musical Instrument Society, 1991, roč. 17, s. 69–82.
[66] WINTERNITZ, Emanuel. The Crosby Brown Collection of Musical Instruments: Its Origin and Development. Metropolitan Museum Journal, 1970, roč. 3, s. 337–356.
[67] ZAPLETAL, Miloš. Musicalia, Historiography, and the Rise of Musical Museology. In The Routledge Companion to Applied Musicology. Christopher Dromey (ed.). New York et al.: Routledge, [2022?]. V tisku.
[68] ŽŮRKOVÁ, Tereza. Josef Šediva (1853–1915) and his Collection of Musical Instruments at the National Museum – Czech Museum of Music in Prague. Galpin Society Journal, 2016, roč. 69, s. 225–238.
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[2] BARCLAY, Robert et al. Recommendations for Regulating the Access to Musical Instruments in Public Collections. [s.l.]: CIMCIM, 1985.
[3] BARCLAY, Robert. Ethics in the Conservation and Restoration of Early Brass Instruments. Historic Brass Society Journal, 1989, roč. 1, s. 75–81.
[4] BARCLAY, Robert L. The Conservation of Musical Instruments. Museum International, 1996, roč. 48, č. 1, s. 9–14.
[5] BARCLAY, Robert L. (ed.). The Care of Historic Musical Instruments. Edinburgh: Museums and Galleries Commission – Canadian Conservation Institute – CIMCIM, 1997.
[6] BARCLAY, Robert. The Preservation and Use of Historic Musical Instruments: Display Case or Concert Halls? London: Earthscan, 2005.
[7] BARNES, John. Does Restoration Destroy Evidence? Early Music, 1980, roč. 8, s. 213–218.
[8] BEHRENS, Wolfgang – Martin ELSTE – Frauke FITZNER (eds.). Vom Sammeln, Klassifizieren und Interpretieren. Die zerstörte Vielfalt des Curt Sachs. Berlin: SIM – Schott, 2017.
[9] BERDYCHOVÁ, Tereza. Výstavní činnost Společenstva hotovitelů hudebních nástrojů v Praze. Musicalia, 2014, č. 1–2, s. 53–68.
[10] BERNER, Alfred – Norman BROMMELLE – Geneviève de CHAMBURE – John Henry van der MEER. Preservation and Restoration of Musical Instruments: Provisional Recommendations. London: Evelyn, Adams and Mackay, 1967.
[11] BERROW, Jim (ed.). Towards the Conservation and Restoration of Historic Organs. London: Church House, 2000.
[12] BESSARABOFF, Nicholas. Ancient European Musical Instruments: An Organological Study in the Leslie Lindsay Mason Collection at the Museum of Fine Arts, Boston. Cambridge: Harvard University Press, 1941.
[13] BIRLEY, Margaret – Heidrun EICHLER – Arnold MYERS. Voices for the Silenced: Guidelines for Interpreting Musical Instruments in Museum Collections. [s.l.]: CIMCIM, 1998.
[14] BOVERMANN, Till – Alberto de CAMPO – Hauke EGERMANN – Sarah-Indriyati HARDJOWIROGO – Stefan WEINZIERL (eds.). Musical Instruments in the 21st Century: Identities, Configurations, Practices. Singapore: Springer, 2017.
[15] BOŽENEK, Karel – Jindřich ZÁVODNÝ. Systém restaurování a rekonstrukce historických hudebních nástrojů. In Muzeologie a metodika. Opava: Slezské muzeum, 1989, s. 36–59.
[16] BRICQUEVILLE, Eugène de. Les anciens instruments de musique: un coin de la curiosité. Paris: Librairie de l'art, [1894].
[17] BRICQUEVILLE, Eugène de. Les ventes d'instruments de musique au XVIIIe siècle. Paris: Librairie Fischbacher, 1908.
[18] CLAUDIUS, Carl. Carl Claudius' samling af gamle musikinstrumenter. Kobenhaven: Levin & Munksgaards, 1931.
[19] COMETTANT, Oscar. La musique, les musiciens et les instruments de musique chez les différents peuples du monde: archives complètes de tous les documents qui se rattachent a L'Exposition internationale de 1867. Paris: Michel Lévy frères, 1869.
[20] COOVER, James. Musical Instrument Collections: Catalogues and Cognate Literature. Detroit: Information Coordinators, 1981.
[21] ČÍŽEK, Bohuslav. Václav František Červený und seine Musikinstrumente in Prager Nationalmuseum. Das Musikinstrument, 1992, roč. 41, č. 11, s. 73–78.
[22] DAWE, Kevin. People, Objects, Meaning: Recent Work on the Study and Collection of Musical Instruments. Galpin Society Journal, 2001, roč. 54, s. 219–32.
[23] DEHAIL, Judith. De la classification scientifique des instruments de musique. Le rôle du musée dans le développement de l'organologie. Revue d'anthropologie des connaissances, 2019, roč. 13, č. 3, s. 781–792.
[24] Le DOULCET COMTE de PONTÉCOULANT, Adolphe. Musée Instrumental. L'Art Musical 1861, roč. 19, (11. 4.), s. 145–147; (25. 4.), s. 161–162; (2. 5.), s. 169–170; (16. 5.), s. 187–188.
[25] DOURNON, Geneviève. Guide pour la collecte des musiques et instruments traditionnels. Paris: UNESCO, 1996.
[26] ELIASON, Robert E. – Friedemann HELLWIG (eds.). Musical Instrument Exhibitions in Scandinavia. Stockholm: Comité International des Musées et Collections d'Instruments de Musique, 1986.
[27] ELSTE, Martin – Eszter FONTANA – John KOSTER (eds.). Regional Traditions in Instrument Making: Challenges to the Museum Community. Leipzig: CIMCIM, 1999.
[28] FERRARI-BARASSI, Elena – Marinella LAINI (eds.). Per una carta europea del restauro. Conservazione, restauro e riuso degli strumenti musicali antichi. Florence: Leo S. Olschki, 1987.
[29] GANSEMANS, Jos. Creating a Context for African Musical Instruments. Museum international, 1996, roč. 48, č. 1, s. 21–25.
[30] GÉTREAU, Florence. Aux origines du musée de la Musique. Les collections du Conservatoire de Paris, 1793–1993. Paris: Klinscksieck, 1996.
[31] GÉTREAU, Florence. Histoire des instruments et représentations de la musique en France. Tome I: Mémoire et bibliographie du sujet. Habilitační práce. Tours: Université François-Rabelais, 2006.
[32] GHIRARDINI, Cristina. Filippo Bonanni's Gabinetto armonico and the Antiquarians' Writings on Instruments. Music in Art, 2008, roč. 33, č. 1–2, s. 168–234.
[33] GOLD, Peter. Music Under Glass: New Approaches to the Exhibition of Sound‐Producing Instruments. Curator: The Museum Journal, 1971, roč. 14, č. 3, s. 159–174.
[34] GWYNN, Dominic. Historic Organ Conservation: A Practical Introduction to Processes and Planning. London: Church House, 2001.
[35] HAINE, Malou. Expositions d'instruments anciens dans la seconde moitié du XIXe siècle. Revue belge de Musicologie, 1988, roč. 42, s. 223–240.
[36] HELLWIG, Friedemann. Basic Concepts of Musical Instrument Presentations. CIMCIM Newsletter, 1986, s. 41–47.
[37] HELLWIG, Friedemann – Pavel KURFÜRST – Ivan MAČÁK (eds.). Contributions to the Study of Traditional Musical Instruments in Museum. Bratislava: Slovenské národné múzeum, 1987.
[38] HELLWIG, Friedemann – John KOSTER. Training in Musical Instrument Conservation. Edinburgh: International Committee of Musical Instrument Museums & Collections, 1994.
[39] HERLIN, Denis – Catherine MASSIP – Valérie de WISPLAERE (eds.). Collectionner la musique. Érudits collectionneurs. Turnhout: Brepols, 2015.
[40] JENKINS, Jean (ed.). Ethnic Musical Instruments: Identification – Conservation. London: Hugh Evelyn, 1970.
[41] KARP, Cary. Restoration, Conservation, Repair and Maintenance. Early Music, 1979, roč. 7, č. 1, s. 79–84.
[42] KARP, Cary. Storage Climates for Musical Instruments. Early Music, 1982, roč. 10, č. 4, s. 469–476.
[43] KARP, Cary. Musical Instruments in Museums. International Journal of Museum Management and Curatorship, 1985, roč. 4, č. 2, 179–182.
[44] KELLER, Jindřich. Katalogizace hudebních nástrojů v nespecializovaných muzeích. Muzejní a vlastivědná práce, 1974, roč. 12, č. 4, s. 209–226.
[45] KELLER, Jindřich. Strahovská sbírka hudebních nástrojů. Sborník Národního muzea v Praze. Řada A – historie, 1977, roč. 146, č. 3–4, s. 176–186.
[46] KINSKY, Georg. Musikinstrumentensammlungen in Vergangenheit und Gegenwart. Jahrbuch der Musikbibliothek Peters, 1920, roč. 27, s. 47–60.
[47] KOSTER, John. Restoration, Reconstruction and Copying in Musical‐Instrument Collections. Museum International, 1996, roč. 48, č. 1, s. 36–40.
[48] KOTAŠOVÁ, Daniela – Tereza ŽŮRKOVÁ – Jan KŘÍŽENECKÝ. Hudební sbírka Ondřeje Horníka. II. Díl: Hudební nástroje. Praha: Národní muzeum, 2012.
[49] MEER, John Henry van der (ed.). Studia musico-museologica. Nürnberg: Germanisches Nationalmuseum, 1970.
[50] MEER, John Henry van der. Musikinstrumente von der Antik bis zur Gegenwart. Munich: Prestel, 1983.
[51] MEYER, Andreas (ed.). Musikaustellungen: Intention, Realisierung, Interpretation. Hildesheim: Georg Olms, 2018.
[52] PONTÉCOULANT, Adolphe. Musée instrumental du Conservatoire de musique. Histoires et anecdotes. Paris: Michel Lévy Frères, 1864.
[53] POULOPOULOS, Panagiotis. New Voices in Old Bodies: A Study of "Recycled” Musical Instruments with a Focus on the Hahn Collection in the Deutsches Museum. Munich: Deutsches Museum Verlag, 2016.
[54] REBLITZ, Arthur A. Le piano: entretien, accord & restauration. Vic-la-Gardiole: L'Entretemps, 2005.
[55] ROSSI ROGNONI, Gabriele. La definizione dell'organologia come disciplina attraverso i primi cataloghi museali (1866–1911). In Annali: arte, musica e spettacolo IX. Firenze: Università degli Studi di Firenze – Titivillus, 2008, s. 155–171.
[56] ROSSI ROGNONI, Gabriele. Preserving Functionality: Keeping Artifacts "Alive” In Museums. Curator, 2019, roč. 62, č. 3, s. 403–414.
[57] ROTH, Dominik von – Linda ESCHERICH (eds.). Private Passion – Public Challenge: Musikinstrumente sammeln in Geschichteund Gegenwart. Heidelberg: arthistoricum.net, 2018.
[58] RÜHLMANN, Julius. Ueber Museen oder Sammlungen musikalischer Instrumente. Neue Zeitschrift für Musik, 1866, roč. 33, sv. 62, č. 34, s. 285–286; č. 35, s. 293–296; č. 36, s. 301–303.
[59] SACHS, Curt. La signification, la tâche et la technique muséographique des collections d'instruments de musique. Mouseion, 1934, roč. 27–28, s. 153–184.
[60] SEHNAL, Jiří – Jiří BELIS. Směrnice pro dokumentaci varhan v českých zemích. Brno: Česká hudební společnost, 1986.
[61] SEIPEL, Wilfried. Für Aug' und Ohr: Musik in Kunst- und Wunderkammern. Milan: Skira, 1999.
[62] SHERRINGTON, Unity – Guy OLDHAM (eds.). Music Librairies and Instruments. Hinrichsen's Eleventh Music Book. London: Hinrichsen, 1961.
[63] SCHMIDT, Susanne. "Der Ton macht die Musik": Musik oder Musikinstrumente in den Völkerkundemuseen? Versuch über das Musikalische im Museum. Bonn: Holos-Verlag, 1993.
[64] VANDERVELLEN Pascalle (ed.). The Golden Age of Flemish Harpsichord Making: A Study of the MIM's Ruckers Instruments. Brussel: Musical Instruments Museum, 2017.
[65] WATSON, John R. Historical Musical Instruments: A Claim to Use, An Obligation to Preserve. Journal of the American Musical Instrument Society, 1991, roč. 17, s. 69–82.
[66] WINTERNITZ, Emanuel. The Crosby Brown Collection of Musical Instruments: Its Origin and Development. Metropolitan Museum Journal, 1970, roč. 3, s. 337–356.
[67] ZAPLETAL, Miloš. Musicalia, Historiography, and the Rise of Musical Museology. In The Routledge Companion to Applied Musicology. Christopher Dromey (ed.). New York et al.: Routledge, [2022?]. V tisku.
[68] ŽŮRKOVÁ, Tereza. Josef Šediva (1853–1915) and his Collection of Musical Instruments at the National Museum – Czech Museum of Music in Prague. Galpin Society Journal, 2016, roč. 69, s. 225–238.
[69] ŽŮRKOVÁ, Tereza – Viktor HRUŠKA. Josef Šediva (1853–1915) a jeho sbírka hudebních nástrojů v Národním muzeu – Českém muzeu hudby. Praha: Národní muzeum, 2016.