The presence of musical instruments in museums as protagonists and witnesses
DOI:
https://doi.org/10.24310/Eviternare.vi9.10336Keywords:
Museum, Music, Musical instruments, Technology, DocumentationAbstract
When one thinks of a museum, surely the first idea of collection that comes to mind is paintings, statues or relics, rarely will musical instruments be the protagonists of this thought despite their continuous presence in the history of humanity. For a relatively short time now, collections of musical instruments have achieved such importance that they have managed to complete museums or exhibition spaces by themselves, hence the appearance of specific musical museums.
Those responsible for this type of collection understand the "need" of the object to be executed for its complete knowledge, which is why it is a challenge for technicians and specialists to manage to present these pieces while ensuring their integrity. It is here where technological advances make a valuable contribution to the dialogue between collection and visitor, managing to complete an experience that resolves curiosities and satisfies the concerns of the interested person at the same time.
However, it is not only specific music museums that have collections of musical instruments; these are present in museums of various themes, completing the information that the exhibition discourse tries to show, which makes them key objects in the contextualisation of a specific scenario while at the same time they pose an exhibition challenge to be presented in its entirety.
This research will highlight different music museums, their contribution and peculiarities, as well as the use of technologies in them.
This article will highlight various music museums, their contribution and peculiarities, as well as the use they make of technology. To this end, first an historical overview of the collection of this type of collection will be given as an introduction, then museums of musical instruments that have served or will serve as a reference will be presented, then the use of technologies in these museums will be studied, focusing on research and documentation, continuing with the new exhibits for this type of collection as well as associations that are dedicated to studying them and putting them to good use and, finally, the latest trends that are occurring in museums that have musical instruments will be mentioned.
Downloads
Metrics
References
AMIS. (s.f.). American Musical Instruments Society. Recuperado de https://www.amis.org/about. (Consulta: 11/04/2019).
Berdux, S., Neumann, S. y Poulopoulos, P. (2013), Panel sessions: New media for musical instrument collections: trend, luxury or necessity, CIMCIM Bulletin, Octubre, pp. 4-7.
Bordas Ibáñez, Cristina (1999). Instrumentos Musicales en Colecciones Españolas: Museos de Titularidad Estatal, Ministerio de Educación y Cultura (Vol. 1). Madrid: Centro de Documentación de Música y Danza. INAEM.
Bordas Ibáñez, Cristina (2001). Instrumentos Musicales en Colecciones Españolas: Museos de Titularidad Estatal (Vol. 2). Ministerio. Madrid: Centro de Documentación de Música y Danza – INAEM.
CERES - Ministerio de Cultura y Deporte. (s.f.). Red Digital de Colecciones de Museos de España (CERES). Ceres.mcu.es. Recuperado de
http://ceres.mcu.es/pages/SimpleSearch?index=true. (Consulta: 18/04/2019).
CIMCIM. (s.f.). CIMCIM Bulletin 2020.
Recuperado de http://network.icom.museum/cimcim/resources/sigla-for-musical-instrument-collections/#c20268. (Consulta: 9/04/2019).
Dawe, K. (2001), People, Objects, Meaning: Recent Work on the Study and Collection of Musical Instruments, The Galpin Society Journal, Vol. 54, Mayo, pp. 219-232.
Escalas, Romà (2008), Las Colecciones de Instrumentos Musicales: Procesos de Creación y Criterio de Gestión Patrimonial. En Instrumentos Musicales en Colecciones Españolas Vol. I Museos de Titularidad Estatal. Ministerio de Cultura (2º Edición revisada y aumentada): Madrid.
ENOLL - European Network of Living Labs. (s.f.). Espacios Living Lab. Recuperado de http://staging.enoll.org/aboutus. (Consulta: 11/04/2019).
Europeana. (s.f.). Music Collection. Recuperado de https://www.europeana.eu/portal/es/collections/music. (Consulta: 9/04/2019).
The Fryederyck Chopin Institute. (s.f.). Fryderyk Chopin Museum. Recuperado de http://muzeum.nifc.pl/en/. (Consulta: 12/04/2019).
Fundación Joaquín Díaz. (s.f.). Fundación Joaquín Díaz. Recuperado de https://funjdiaz.net/inst0.php. (Consulta: 9/04/2019).
Europapress. (27/06/2018). Madrid tendrá un Museo de la Música destinado a “la cultura, el aprendizaje y la investigación”. Europapress.es. Recuperado de https://www.europapress.es/madrid/noticia-madrid-tendra-museo-musica-destinado-cultura-aprendizaje-investigacion-20180627124351.html. (Consulta: 10/04/2019).
Hernández, Francisca (1994). Manual de Museología. Editorial Síntesis S.L.: Madrid.
Hernández, Francisca (2006). Planteamientos teóricos de la museología. Ediciones TREA, S.L.: Asturias.
Asociación Instrumenta. (s.f.). Asociación Instrumenta, unidos para el patrimonio instrumental. Recuperado de https://instrumenta.es/. (Consulta: 16/04/2020).
MIMMA - Museo interactivo de la música Málaga. (s.f.). MIMMA Living Lab. Recuperado de http://staging.enoll.org/livinglab/mimma-living-lab. (Consulta: 11/04/2019).
MIMO - Musical instrument museums online. (s.f.). Explore the Word collection of musical instruments. Recuperado de http://www.mimo-international.com/MIMO/. (Consulta: 9/04/2019).
Musée de la Musique de París. (s.f.). Histoire du Musée. Recuperado de https://philharmoniedeparis.fr/fr/musee-de-la-musique/le-musee/histoire-du-musee. (Consulta: 9/04/2019).
Comunicae. (s.f.). Málaga suma un nuevo miembro en ENOLL (European Network of Living Labs) con MIMMA Living Lab. Comunicae.es. Recuperado de https://www.comunicae.es/nota/malaga-suma-un-nuevo-miembro-en-enoll-european-network-of-living-labs-con-mimma-living-lab-1021714/. (Consulta: 12/04/2019).
Rodger, N. (2011), The MIMO project musical instrument museum online, CIMCIM Bulletin, Abril, pp. 2-7.
Schaeffner, A.y Dominic F. (1992), Musical Instruments in an Ethnographic Museum, The MIT Press, Vol. 60, Octubre, pp. 32-40.
Schofield, J. (2014), The Archaeology of Sound and Music, World Archaeology, 3, (46), pp. 289–91.
Junta de Andalucía. (s.f.). DOMUS, Sistema Integrado de Documentación y Gestión Museográfica. Recuperado de: http://www.juntadeandalucia.es/cultura/WEBDomus/buscador.do?lng=es. (Consulta: 18/04/2019).
Galpin Society. (s.f.). The Galpin Society. Galpinsociety.org. Recuperado de http://galpinsociety.org/history.htm. (Consulta: 11/04/2019).
Downloads
Published
How to Cite
Issue
Section
License
All the contents published in Revista Eviterna are subject to the Creative Commons Reconocimento-NoComercia-Compartirigual 4.0 license, the full text of which can be found at <http://creativecommons.org/licenses/by-nc-sa/4.0>
They may be copied, used, disseminated, transmitted and publicly exposed, provided that:
The authorship and original source of your publication (Journal, editorial and URL of the work) are cited.
They are not used for commercial purposes.
The existence and specifications of this use license are mentioned.
Copyright is of two kinds: moral rights and patrimonial rights. Moral rights are perpetual, inalienable, inalienable, inalienable, inalienable and imprescriptible prerogatives.
In accordance with copyright legislation, Revista Eviterna recognizes and respects the moral rights of the authors, as well as the ownership of the economic right, which will be transferred to the University of Malaga for dissemination in open access.
The economic rights refer to the benefits obtained by the use or disclosure of the works. Revista Eviterna is published in open access and is exclusively authorized to carry out or authorize by any means the use, distribution, disclosure, reproduction, adaptation, translation or transformation of the work.
It is the responsibility of the authors to obtain the necessary permissions of the images that are subject to copyright.
12.png)
